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Composer and guitarist Yasmin Williams's new album, Acadia, is out today. The album, her Nonesuch debut and her most sonically expansive work to date, comprises nine original, mostly instrumental, tracks written and produced by Williams, and features her on various guitars, banjo, calabash drum, tap shoes, and kora. Williams is joined on the album by an eclectic cast of collaborators—including Immanuel Wilkins on saxophone, Dom Flemons on rhythm bones, Aoife O’Donovan on vocals, William Tyler on guitar, and many others—creating a folk music that reflects the wide range of musical influences that have inspired her throughout her life.
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Composer and guitarist Yasmin Williams's new album, Acadia, is out today on Nonesuch Records; you can get it and hear it here. The album, her Nonesuch debut and her most sonically expansive work to date, comprises nine original, mostly instrumental, tracks written and produced by Williams, and features her on various guitars, banjo, calabash drum, tap shoes, and kora. Williams is joined on the album by an eclectic cast of collaborators—including Immanuel Wilkins on saxophone, Dom Flemons on rhythm bones, Aoife O’Donovan on vocals, William Tyler on guitar, and many others—creating a folk music that reflects the wide range of musical influences that have inspired her throughout her life.
"No one on earth plays the guitar like Yasmin Williams," says The Bluegrass Situation. "Williams is showing roots music fans everywhere that even our most familiar instruments can be wellsprings of originality, inspiration, and joy. Acadia is a masterwork, and a perfect album to spotlight as we name Yasmin Williams our Artist of the Month."
Williams is touring North America with Brittany Howard and Michael Kiwanuka through October and will play London’s Pitchfork Music Festival in November. A complete list of dates is below; for details and all latest, visit nonesuch.com/on-tour.
Of the album, she says: “Acadia has several meanings: a place of rural peace and pastoral poetry (Italian), a refuge or idyllic place, (Greek and Italian), fertile land (Mi'kmaq), a place of plenty (French) ... all of this relates to the ethos of this album. The songs are seeds I planted, and the seeds grew into the album, Acadia: a place of peace, a place where creativity can blossom, a place where everyone can fit in together and collaborate effectively, a place where the fruits of my own labor in music can fully flourish without judgment or prejudice. One of my visions for this record was to expand the potential for current folk music to encourage collaboration across various genres. Blurring those somewhat arbitrary lines has been a natural tendency for me since I started writing music at twelve years old and Acadia is a full circle moment.”
Yasmin Williams has received critical acclaim from outlets such as Pitchfork, which included her in its list of 25 New and Rising Artists Shaping the Future of Music in 2023, and NPR Music, which named her its Breakthrough Artist of 2021, saying: “Yasmin Williams treats her guitar like a playground. She taps the wood of the instrument, fingertaps the fret—on other songs, she taps dance shoes, plays the kora or a thumb piano while playing the guitar.” The outlet further noted the “joy and possibility she brings to the guitar … This music goes back to Black blues guitarists; she’s reclaiming, but she’s also staking her claim at the same time.”
“Williams … is one of the country’s most imaginative young solo guitarists," says the New York Times. "[Her] radiant sound and adventitious origins have made her a key figure in a diverse dawn for the solo guitar.” Songlines calls her “an original, a genuine trailblazer, one of those rare musicians who challenges your preconceptions about the possible.” Pitchfork proclaims: “Williams' approach to the instrument allows her to confound expectations, making you question the source of each overtone and rhythm.” The Guardian says: “Special kudos to whoever booked Yasmin Williams [at Glastonbury]. She may not be a huge name (yet) but anyone who’s feeling a bit fragile can’t fail to be soothed by the guitarist’s magical and innovative style. The result is so fluid and sparkling, it just pulses with life. She creates acres of space, then fills it with busy refrains that reach ever skyward. Or she crafts sparkling, fraught, kaleidoscopic helixes of sound.”
A native of northern Virginia, Williams began playing electric guitar in eighth grade and quickly moved on to acoustic guitar, finding that it allowed her to combine fingerstyle techniques with the lap-tapping skills she had developed, as well as perform as a solo artist. Williams’ influences include the smooth jazz and R&B she listened to growing up, Hendrix and Nirvana, go-go and hip-hop. Her love for the band Earth, Wind and Fire prompted her to incorporate the kalimba into her songwriting, and she has also drawn inspiration from other Black women guitarists such as Elizabeth Cotten, Sister Rosetta Tharpe, and Algia Mae Hinton. On her previous album, the highly acclaimed Urban Driftwood (SPINSTER, 2021), which Pitchfork recently named one of the Best Albums of the 2020s So Far, Williams referenced the music of West African griots through the inclusion of kora and by featuring the hand drumming of 150th generation djeli of the Kouyate family, Amadou Kouyate, on the title track. Last fall, she released the Acadia album track “Dawning,” featuring Aoife O’Donovan on vocals, Kafari on rhythm bones, and Nic Gareiss’ percussive dancing.
Composer and Guitarist Yasmin Williams’s New Album, 'Acadia’ Out Now
Composer and guitarist Yasmin Williams's new album, Acadia, is out today on Nonesuch Records; you can get it and hear it here. The album, her Nonesuch debut and her most sonically expansive work to date, comprises nine original, mostly instrumental, tracks written and produced by Williams, and features her on various guitars, banjo, calabash drum, tap shoes, and kora. Williams is joined on the album by an eclectic cast of collaborators—including Immanuel Wilkins on saxophone, Dom Flemons on rhythm bones, Aoife O’Donovan on vocals, William Tyler on guitar, and many others—creating a folk music that reflects the wide range of musical influences that have inspired her throughout her life.
"No one on earth plays the guitar like Yasmin Williams," says The Bluegrass Situation. "Williams is showing roots music fans everywhere that even our most familiar instruments can be wellsprings of originality, inspiration, and joy. Acadia is a masterwork, and a perfect album to spotlight as we name Yasmin Williams our Artist of the Month."
Williams is touring North America with Brittany Howard and Michael Kiwanuka through October and will play London’s Pitchfork Music Festival in November. A complete list of dates is below; for details and all latest, visit nonesuch.com/on-tour.
Of the album, she says: “Acadia has several meanings: a place of rural peace and pastoral poetry (Italian), a refuge or idyllic place, (Greek and Italian), fertile land (Mi'kmaq), a place of plenty (French) ... all of this relates to the ethos of this album. The songs are seeds I planted, and the seeds grew into the album, Acadia: a place of peace, a place where creativity can blossom, a place where everyone can fit in together and collaborate effectively, a place where the fruits of my own labor in music can fully flourish without judgment or prejudice. One of my visions for this record was to expand the potential for current folk music to encourage collaboration across various genres. Blurring those somewhat arbitrary lines has been a natural tendency for me since I started writing music at twelve years old and Acadia is a full circle moment.”
Yasmin Williams has received critical acclaim from outlets such as Pitchfork, which included her in its list of 25 New and Rising Artists Shaping the Future of Music in 2023, and NPR Music, which named her its Breakthrough Artist of 2021, saying: “Yasmin Williams treats her guitar like a playground. She taps the wood of the instrument, fingertaps the fret—on other songs, she taps dance shoes, plays the kora or a thumb piano while playing the guitar.” The outlet further noted the “joy and possibility she brings to the guitar … This music goes back to Black blues guitarists; she’s reclaiming, but she’s also staking her claim at the same time.”
“Williams … is one of the country’s most imaginative young solo guitarists," says the New York Times. "[Her] radiant sound and adventitious origins have made her a key figure in a diverse dawn for the solo guitar.” Songlines calls her “an original, a genuine trailblazer, one of those rare musicians who challenges your preconceptions about the possible.” Pitchfork proclaims: “Williams' approach to the instrument allows her to confound expectations, making you question the source of each overtone and rhythm.” The Guardian says: “Special kudos to whoever booked Yasmin Williams [at Glastonbury]. She may not be a huge name (yet) but anyone who’s feeling a bit fragile can’t fail to be soothed by the guitarist’s magical and innovative style. The result is so fluid and sparkling, it just pulses with life. She creates acres of space, then fills it with busy refrains that reach ever skyward. Or she crafts sparkling, fraught, kaleidoscopic helixes of sound.”
A native of northern Virginia, Williams began playing electric guitar in eighth grade and quickly moved on to acoustic guitar, finding that it allowed her to combine fingerstyle techniques with the lap-tapping skills she had developed, as well as perform as a solo artist. Williams’ influences include the smooth jazz and R&B she listened to growing up, Hendrix and Nirvana, go-go and hip-hop. Her love for the band Earth, Wind and Fire prompted her to incorporate the kalimba into her songwriting, and she has also drawn inspiration from other Black women guitarists such as Elizabeth Cotten, Sister Rosetta Tharpe, and Algia Mae Hinton. On her previous album, the highly acclaimed Urban Driftwood (SPINSTER, 2021), which Pitchfork recently named one of the Best Albums of the 2020s So Far, Williams referenced the music of West African griots through the inclusion of kora and by featuring the hand drumming of 150th generation djeli of the Kouyate family, Amadou Kouyate, on the title track. Last fall, she released the Acadia album track “Dawning,” featuring Aoife O’Donovan on vocals, Kafari on rhythm bones, and Nic Gareiss’ percussive dancing.
X
By submitting my information, I agree to receive personalized updates and
marketing messages about Nonesuch based on my information, interests,
activities, website visits and device data and in accordance with the
Privacy Policy. I understand that I can opt-out at any time by emailing
privacypolicy@wmg.com.
Thank you!
x
Welcome to Nonesuch's mailing list!
Customize your notifications for tour dates near your hometown, birthday wishes, or special discounts in our online store!
Composer and Guitarist Yasmin Williams’s New Album, 'Acadia’ Out Now
Composer and guitarist Yasmin Williams's new album, Acadia, is out today on Nonesuch Records; you can get it and hear it here. The album, her Nonesuch debut and her most sonically expansive work to date, comprises nine original, mostly instrumental, tracks written and produced by Williams, and features her on various guitars, banjo, calabash drum, tap shoes, and kora. Williams is joined on the album by an eclectic cast of collaborators—including Immanuel Wilkins on saxophone, Dom Flemons on rhythm bones, Aoife O’Donovan on vocals, William Tyler on guitar, and many others—creating a folk music that reflects the wide range of musical influences that have inspired her throughout her life.
"No one on earth plays the guitar like Yasmin Williams," says The Bluegrass Situation. "Williams is showing roots music fans everywhere that even our most familiar instruments can be wellsprings of originality, inspiration, and joy. Acadia is a masterwork, and a perfect album to spotlight as we name Yasmin Williams our Artist of the Month."
Williams is touring North America with Brittany Howard and Michael Kiwanuka through October and will play London’s Pitchfork Music Festival in November. A complete list of dates is below; for details and all latest, visit nonesuch.com/on-tour.
Of the album, she says: “Acadia has several meanings: a place of rural peace and pastoral poetry (Italian), a refuge or idyllic place, (Greek and Italian), fertile land (Mi'kmaq), a place of plenty (French) ... all of this relates to the ethos of this album. The songs are seeds I planted, and the seeds grew into the album, Acadia: a place of peace, a place where creativity can blossom, a place where everyone can fit in together and collaborate effectively, a place where the fruits of my own labor in music can fully flourish without judgment or prejudice. One of my visions for this record was to expand the potential for current folk music to encourage collaboration across various genres. Blurring those somewhat arbitrary lines has been a natural tendency for me since I started writing music at twelve years old and Acadia is a full circle moment.”
Yasmin Williams has received critical acclaim from outlets such as Pitchfork, which included her in its list of 25 New and Rising Artists Shaping the Future of Music in 2023, and NPR Music, which named her its Breakthrough Artist of 2021, saying: “Yasmin Williams treats her guitar like a playground. She taps the wood of the instrument, fingertaps the fret—on other songs, she taps dance shoes, plays the kora or a thumb piano while playing the guitar.” The outlet further noted the “joy and possibility she brings to the guitar … This music goes back to Black blues guitarists; she’s reclaiming, but she’s also staking her claim at the same time.”
“Williams … is one of the country’s most imaginative young solo guitarists," says the New York Times. "[Her] radiant sound and adventitious origins have made her a key figure in a diverse dawn for the solo guitar.” Songlines calls her “an original, a genuine trailblazer, one of those rare musicians who challenges your preconceptions about the possible.” Pitchfork proclaims: “Williams' approach to the instrument allows her to confound expectations, making you question the source of each overtone and rhythm.” The Guardian says: “Special kudos to whoever booked Yasmin Williams [at Glastonbury]. She may not be a huge name (yet) but anyone who’s feeling a bit fragile can’t fail to be soothed by the guitarist’s magical and innovative style. The result is so fluid and sparkling, it just pulses with life. She creates acres of space, then fills it with busy refrains that reach ever skyward. Or she crafts sparkling, fraught, kaleidoscopic helixes of sound.”
A native of northern Virginia, Williams began playing electric guitar in eighth grade and quickly moved on to acoustic guitar, finding that it allowed her to combine fingerstyle techniques with the lap-tapping skills she had developed, as well as perform as a solo artist. Williams’ influences include the smooth jazz and R&B she listened to growing up, Hendrix and Nirvana, go-go and hip-hop. Her love for the band Earth, Wind and Fire prompted her to incorporate the kalimba into her songwriting, and she has also drawn inspiration from other Black women guitarists such as Elizabeth Cotten, Sister Rosetta Tharpe, and Algia Mae Hinton. On her previous album, the highly acclaimed Urban Driftwood (SPINSTER, 2021), which Pitchfork recently named one of the Best Albums of the 2020s So Far, Williams referenced the music of West African griots through the inclusion of kora and by featuring the hand drumming of 150th generation djeli of the Kouyate family, Amadou Kouyate, on the title track. Last fall, she released the Acadia album track “Dawning,” featuring Aoife O’Donovan on vocals, Kafari on rhythm bones, and Nic Gareiss’ percussive dancing.
The Way Out of Easy, the new album from guitarist Jeff Parker and his ETA IVtet—saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose—is now available on all streaming platforms. Upon the album's physical release last month, it debuted at No. 1 on Billboard's Current Contemporary Jazz Albums chart, and Pitchfork named it Best New Music, saying: "The vibe is laid-back, but it rewards rapt attention ... This exceptional record fixes your attention on the present moment."
The twenty-seven disc box set Steve Reich Collected Works is due March 14, 2025, on Nonesuch. It features music recorded during the composer's forty years on the label—six decades of his compositions, including first recordings of his two latest works, Jacob’s Ladder and Traveler’s Prayer—plus two extensive booklets with new essays by Robert Hurwitz, Michael Tilson Thomas, Russell Hartenberger, Judith Sherman, and Nico Muhly, and a comprehensive listener’s guide by Timo Andres. Nonesuch made its first record with Steve Reich in 1985; he was signed exclusively to the label that year. Collected Works includes twenty-four discs of Nonesuch recordings and three from other labels.
