Anaïs Mitchell is one of the most distinctive singer-songwriters of her generation, blending folk traditions with deeply personal and politically resonant storytelling. Best known for her folk opera “Hadestown”, her work spans a wide range of themes, from mythology to rural life, relationships, and socio-political commentary.
Choosing a “top ten” for Anaïs Mitchell is a mighty challenge: simply, there are so many that could be chosen. However, hopefully this selection shows something of the breadth and depth of her work. Each song here has lyrical depth, emotional weight and great musical craftmanship.
Number 10: Clyde Waters (Child 216)’ from “Child Ballads” (2013)
A standout from “Child Ballads”, an album made with Jefferson Hamer, ‘Clyde Waters’ is a reinterpretation of a classic folk ballad from Francis James Child’s Nineteenth Century anthology. Mitchell and Hamer seem to find something new in the song, bringing beauty and harmony to a tragic tale of drowning in dark waters.
Number 9: ‘Revenant’ from “Anaïs Mitchell” (2022)
A song about love, ghosts, and the past refusing to stay buried, ‘Revenant’ is eerie yet deeply moving. Mitchell’s voice is at its most intimate here, wrapping around lines like “Read your letters all again/Coffee rings and a ballpoint pen/Tear stains every now and then/I remember what they meant.” The lyrics are hauntingly beautiful, steeped in nostalgia, loss, and a longing for something—or someone—just out of reach. The word “revenant” itself is loaded with meaning: it refers to someone who returns, often from the dead, which casts a ghostly, melancholic tone over the song. The stripped-back arrangement allows the song’s themes of impermanence and memory to be echoed in the music. However, just below the surface, if you listen carefully, there is some stunning musicianship.
Number 8: ‘The Roving’ with Bonnie Light Horseman from “Bonnie Light Horseman” (2020)
This collaboration with folk supergroup Bonnie Light Horseman – Mitchell here has joined forces with Eric D. Johnson and Josh Kaufman – showcases Mitchell’s ability to blend seamlessly with other voices. They are also brilliant to see live. ‘The Roving’ is a tale of loving and letting go with the lyrics of “I knew her love was changing/by the roving of her eye” as its central motif. The musicianship is also a masterclass in producing something greater than the sum of its parts: piano, guitar, percussion and voice are individually great but collectively enrapturing.
Number 7: ‘I Wear Your Dress’ from “Hymns for the Exiled” (2004)
This early gem from “Hymns for the Exiled” is a stunning example of Mitchell’s ability to build a poetic and personal story. The song’s delicate melody complements its evocative lyrics, which deal with memory, loss and identity. However, there is a powerful political message that is entwined with this: this is a song of feminism and a celebration of a previous generation’s sacrifice so that Mitchell and her peers can be freer. Mitchell’s body is still her own due to the work of her grandmother’s generation. As the song concludes, “This is just to tell you/With the liberty you’ve given/Like the clothing you’ve outgrown/To your granddaughter”.
Number 6: ‘Why We Build the Wall’ from “Hadestown” (2010)
Purists might question this choice as the lead vocal is taken by the wonderfully voiced Greg Brown. However, this chilling song from “Hadestown” has only grown more relevant over time and illustrates just what an amazing songwriter Mitchell is. It is also one of her best-known songs. The musical Hadestown is an inspired reimagining of the Greek myth of Orpheus set in the future. This song is a call and response folk-chant between Hades (Greg Brown) and Cerberus (the choir). “Why do we build the wall?/We build the wall to keep us free”, says Cerberus which, of course, has some resonance in the current geopolitical climate, but also speaks more eternally about power, fear and economic disparity. The minimal, rhythmic arrangement adds to the ominous tone and the darkness in Brown’s voice is complemented by the youthful sounding choir.
Number 5: ‘When I Was Younger’ with Bonnie Light Horseman from “Keep Me on Your Mind/See You Free” (2024)
From one of Americana UK’s best albums of 2024, ‘When I Was Younger’ is a song of wistful regret and reflection from the Bonnie Light Horseman collaboration. The lyrics explore the contrast between youthful Hedonism and adult responsibilities. “When I was younger I used to drink wine/Now that I’m older I’m rockin’ a cradle” sings Mitchell on the first verse. The second verse is sung by Johnson, but then they combine – to magnificent effect. At this point the base of the song, a simple piano chord sequence and a great bass line, is joined by a powerful bluesy guitar. This may be the point where all three members of the band are most perfectly conjoined.
Number 4: ‘Your Fonder Heart’ from “The Brightness” (2007)
‘Your Fonder Heart’ is a beautifully evocative composition, rich with imagery and emotional depth. The song revolves around longing, uncertainty, and an unresolved relationship. There’s a sense of waiting and wondering, reinforced by the repeated line, “Way over yonder I’m waiting and wondering/whether your fonder heart lies.” There is some lovely wordplay too, such as with the use “wither” and “whether”: the former suggests something fading or decaying, whereas the latter introduces doubt, as if Mitchell is unsure where the other person’s true affections lie. Musically the song builds to a beautiful crescendo reinforcing the intimate yet unsettled feel of the song. It is like a late-night conversation that might not get the answers it seeks.
Number 3: ‘Young Man in America’ from “Young Man in America” (2012)
A raw, urgent track, ‘Young Man in America’ is a sweeping narrative of coming of age and masculinity. Mitchell portrays a character gripped by hunger and a desperate desire to define himself. A character who seems to vacillate between the almost mythic (a ‘cannonball’ and a ‘hurricane’) and deeply vulnerable (‘hollow in my bones’). Musically, the song mirrors the restless energy of the lyrics with jagged rhythms and a range of instrumentation. Finally, however, the song kind of collapses in on itself leaving a feeling of sadness replacing some of the anger in the song.
Number 2: ‘Now You Know’ from “Anaïs Mitchell” (2022)
From her self-titled album, ‘Now You Know’ is a beautiful meditation on life, love and sadness. The structure of the song, built on a chain of associative thoughts, is both ambitious and highly effective: one thought seamlessly leads to the next, which mirrors the way ideas can spiral in moments of deep reflection. For example, Mitchell sings, “And when I think of your arms/I think about sleeping/Sleeping like a baby/All through the night/And then I think of the night/And I feel like weeping/Weeping for my life.” The instrumentation on the song complements the lyrics, with acoustic guitar, piano and voice repeating patterns that add to the meditative air.
Number 1: ‘You Are Forgiven’ from “Young Man in America” (2012)
There is a discordant and slightly jazzy trumpet in the back of the song which seems to capture the heart of what this composition is about – regret, disconnection and tension. Mitchell sings, “Everything you should have said/Everything you said instead” in the first verse which, like a lot of the song, has an undercurrent of real menace. Perhaps the ending, “You are/You are/You are forgiven” is an amazing act of love and catharsis but may well be irony. However, ‘You Are Forgiven’ typifies the musical and lyrical brilliance Mitchell brings to her songwriting: she has a gift for saying much without embellishment. It is a song, like so much in her catalogue, that can be returned to again and again with each visit revealing something more.
I’m not sure Bonny Light Horseman don’t belong on their own list, given they are very much a collaborative project of three equals. Also I think a lot of Mitchell fans would raise an eyebrow at the omission of fan favourites such as Shepherd and Old Fashioned Hat. But as you say in your intro, choosing just ten songs is a mighty challenge, so I applaud the effort.