The musician Nancy Wilson calls “the female Bob Dylan”
They might be known for a string of somewhat cloying chart-topping hits, but Heart are of much more consequence than some of their most famous successes might suggest.
Spearheaded by vocalist Ann Wilson and her sister, lead guitarist Nancy, together the pair and their bandmates railed against gender disparities in music, paving the way for future innovators.
While it would be a little skewed to suggest that just because of their gender, Heart are pioneers in the vein of predecessors Janis Joplin or Grace Slick, but musically and spiritually, they really are. Outside of Ann’s astounding delivery and the influential moments Nancy crafted on her six-string, they led by example. For all the girls sat staring idly out their windows, listening to Heart’s grooves itching to break out of suburban ennui and the prison of what society expected of them, the Wilson sisters offered an almost tangible whiff of hope.
For instance, the group’s definitive anthem, ‘Barracuda’, is much more than just a classic rock staple. It is a defiant stand in the face of rampant misogyny and sexism, as well as the cheap tactics of the music industry. It’s a reaction to the simply sickening rumour spread by the band’s first label, Mushroom Records, about a fictional incestuous affair between the sisters they conceived to sell their debut album, Dreamboat Annie. Rightly outraged by such a gross stunt, as soon as Ann Wilson heard about it, she went straight to her hotel room and wrote the initial lyrics for the track.
Outside of this classic moment, the Wilson sisters have regularly discussed the obstacles they have faced because of their gender, particularly in the 1970s, when there was a long road ahead on this front, and the configuration of the industry and society was very different. During a recent interview on Audacy Check In, Nancy reflected on Heart’s journey and whether things have even changed that much since they broke out.
While Heart are undoubtedly a distinctive force in the story of popular music, they drew inspiration and confidence from many pioneers who came before them in the 1960s. One figure who left an indelible impact on the Wilson sisters was Joni Mitchell. Not only are they in awe of her musical efforts, which Nancy thinks qualifies her as “the female Bob Dylan”, but her generally dissenting attitude too.
She even noted that Mitchell might have been less than impressed with such a comparison, given her famously complex relationship with the Duluth troubadour and his unbrushed teeth, but she pressed on anyway, as she truly believes Mitchell is of the same cultural standing as the man dubbed ‘The Voice of his Generation’. That’s some praise, and clearly infers how the Canadian’s work stretches far outside that of music.
When both sisters appeared on the Celebrity Playlist Podcast in 2010, they chose ‘Hejira’ from the 1976 album of the same name as one of their all-time favourites. It was Ann who kicked things off by mentioning how widespread Mitchell’s influence is, noting that she has disciples in everyone from Heart to Prince and even the so-called macho men in 1980s hair-metal outfits. “She just had something extra,” she asserted.
Offering a more holistic view of the countercultural icon, Nancy picked the account up. “She probably would take issue with this, but she always takes issue with everything anyway, but I’d call her the female Bob Dylan… I think she’s at par with Bob Dylan, if not beyond Bob Dylan, because for a woman to have expressed poetry in that way and invented something that original that in no way was derivative of other folk music or other blues music, Joni Mitchell really deserves her kudos and her place in history.”
Given the comments, there’s no real surprise Heart felt so compelled to continue their journey in the face of such egregious misogyny. For Joni Mitchell to keep the quality of her art high while not giving a second thought to the backwards social mores was truly encouraging. Her influence would be by proxy, too, as disciples such as Heart spread the message and continue to lead the way into the future.
Mitchell’s impact also makes sense when you remember what Heart were trying to be in their early years. They were not simply chasing radio play or leaning on image. They were trying to be taken seriously as writers and players in a world that often treated women as either decoration or novelty. Mitchell had already shown that you could centre the work, trust your own perspective, and let the songs do the arguing. That kind of example becomes a quiet kind of armour when the noise around you is telling you to soften, smile, or be grateful for whatever space you are given.
And even when Heart did lean into the grander, more polished side of rock later on, that streak of independence never really left. You can hear it in the way the Wilson sisters talk about their influences, not as idols to imitate but as proof that originality is worth the discomfort it can bring. In that sense, Mitchell was not just an inspiration on a playlist. She was a permission slip. If she could build a world that did not ask for approval, Heart could do the same, even if they had to fight for every inch of it.
