Review By Glen Parkes
There are albums that entertain, and then there are albums that demand to be heard. Hannah Wicklund’s War On Women; Calling All Good Men, released on 28th August, firmly belongs in the latter category. It is an intensely personal, emotionally charged collection of songs born from betrayal, heartbreak and ultimately liberation. More importantly, it confirms Wicklund as one of the most exciting guitarists and songwriters in modern rock.
Following the critically acclaimed The Prize, Hannah could easily have played it safe. Instead, after enduring years of industry manipulation, legal battles and personal upheaval, she has channelled every ounce of pain and determination into a record that refuses to compromise. Written, recorded and self-produced on a shoestring budget funded entirely through her own artwork, the album feels completely authentic from beginning to end.
From the haunting acapella opener “War On Women,” Hannah immediately commands attention. The track is both a warning and a rallying cry, setting the tone for an album that tackles abuse of power, inequality, broken relationships and ultimately hope for a better future.
Musically, this album is a stunning journey through rock, blues, soul, gospel, folk and pop, yet it never loses its identity. Songs such as “Red Gorilla” and “Marionettes” burst with attitude and groove, while the swaggering “Evil Is A Corporation” delivers one of the album’s most infectious moments, combining blues-soaked riffs with razor-sharp lyrical observations.
Then there is Hannah’s guitar playing.
Simply put, she is an extraordinary guitarist. Every note feels earned, every solo tells a story and every riff is played with complete conviction. She doesn’t play to impress—she plays from the heart. That emotional honesty pours from her fingertips throughout the record and elevates every song she touches. Whether delivering gritty blues licks, soaring melodic leads or explosive rock solos, Wicklund reminds listeners why she has earned a reputation as one of the finest guitar players of her generation.
The centrepiece is undoubtedly “Cowards & Kings.” Featuring what Hannah herself describes as the greatest guitar solo she has ever recorded, it’s impossible to disagree. Recorded live in a single take, the solo is breathtaking—equal parts technical brilliance and raw emotion. It’s the kind of performance that gives you goosebumps, proving that sometimes the most powerful moments come when an artist simply lets their heart take control.
Elsewhere, “The Token” strips everything back with heartbreaking honesty, while “Stockholm” offers a brutally candid reflection on a relationship that had lost its way. “Whistle To Blow” explodes with anger and frustration, showing Hannah at her fiercest, before “Total Truth” begins steering the album towards its hopeful conclusion.
The closing acapella piece, “Calling All Good Men,” is beautifully judged. Rather than ending in bitterness, Hannah extends an olive branch, making it clear that this isn’t a battle against men but a call for unity, accountability and change. It provides the perfect emotional resolution to an album built on resilience.
Throughout War On Women; Calling All Good Men, Hannah Wicklund proves she is far more than an exceptional musician. She is an artist willing to expose every scar in pursuit of honesty, and the result is a record that feels genuine, courageous and utterly compelling.
This isn’t simply one of the strongest rock albums of the year—it’s one of the most important. Packed with fearless songwriting, stunning vocals and some of the most heartfelt guitar playing you’ll hear anywhere in 2026, Hannah Wicklund has created a record that deserves to be heard loud and often.
Hannah Wicklund hasn’t just made an outstanding album—she’s delivered a powerful statement of resilience, and along the way reminds us that when she picks up a guitar, few players can match the passion, soul and fire she pours into every single note.
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