With ‘Acadia,’ Yasmin Williams Explores the Intersection of Intimate Fingerstyle and Expansive Collaboration

Yasmin Williams’ Acadia takes its name from the concept of an idyllic, fertile place, a metaphor for the creativity and collaboration that permeate her first release on Nonesuch Records. Drawing on instruments ranging from guitars and banjos to fiddle, synth bass, and even tap shoes, Williams crafts a soundscape that is both intimate and expansive, its layered sonic palette enriched by guests like saxophonist Immanuel Wilkins, singer Aoife O’Donovan, and fellow guitar virtuoso Kaki King. Although it hardly departs from the sound she’s most associated with—“modern, percussive fingerstyle techniques with a laid-back compositional style,” according to Bandcamp—Williams’ third effort strikes a balance between contemplation and collaboration that keeps things interesting.

At the heart of the nine-track album is Williams’ personal journey, with each composition reflecting transformative moments in her life. Acadia opens with “Cliffwalk,” featuring Black folk scholar Dom Flemons on rhythm bones; inspired by her experience performing at the Newport Folk Festival, the instrumental captures the vulnerability and triumph of realizing her musical identity. The harmonics-rich intro to the Kaki King collaboration, “Harvest,” leads to a beautiful, multitracked performance by Moses Sumney violinist Darian Donovan Thomas. “Virga,” a standout track featuring experimental artist Rich Ruth’s atmospheric synths and the dreamy harmonies of vocal quartet Darlingside, serves as a metaphor for the challenges and beauty of an artist’s life, drawing listeners into its thoughtful mood. (It’s also Williams’ first-ever release with lyrics.) 

Similarly, “Sisters,” the album’s longest track, is an evocative, nearly seven-minute composition that recalls Williams’ wonder-struck experience of the small Oregon town of the same name and performing at its Sisters Folk Festival. In “Dream Lake,” Williams employs spacey effects and overdriven electric guitar (along with the buoyant drumming of Malick Koly) to conjure the floating feeling of achieving career benchmarks while striving to stay grounded. Meanwhile, “Dawning” (featuring O’Donovan, pianist Kafari, and dancer Nic Gareiss) and the bluegrass-flavored “Hummingbird” (with banjo-and-fiddle duo Allison de Groot and Tatiana Hargreaves) celebrate beginnings, weaving intricate melodies with rhythmic nuances that echo Williams’ diverse musical influences.

Perhaps it’s no surprise that an album placing such a premium on exploration ends with two tracks that diverge from its familiar sounds. Berlin-based drummer/producer Magro puts Williams’ deftly executed fingerpicking in a fresh context by adding a sexy synth bass line and hip-hop boom-bap to “Nectar,” showcasing another side of her artistry and hinting at new directions ahead. The finale, “Malamu,” brings together Williams’ love for rock, funk, and folk, blending Wilkins’ soaring saxophone lines, the deep groove of drum wizard Marcus Gilmore, and intricate electric guitar by the maestro herself. If you’ve never heard Williams profess her love of Jimi Hendrix and Nirvana, here’s your chance.

In a very real way, “Malamu” encapsulates the 27-year-old Virginia native’s artistic ethos: an embrace of the past, a celebration of the present, and a nod to roads yet unexplored. 

Taken as a whole, Acadia is a celebration of connection—between genres, cultures, and people—and a testament to Williams’ vision of music in which fruitful collaboration and deep reflection enhance one another.

This article originally appeared in the March/April 2025 issue of Acoustic Guitar magazine.

Watch Williams perform two two songs from Acadia, “Cliffwalk” and “Hummingbird,” and an old favorite, “Juvenescence” (from her 2021 release, Urban Driftwood). Williams doesn’t just play fast all over the neck—her spirited fingerstyle is dynamic, exuberant, and at times exhilarating.