Heartworn Highways Revisited

The documentary opens with Larry Jon Wilson in a recording studio, awakening after a late-night gig. The raw, intimate scene sets the tone for the intimate portraits of traditional folk and country songwriters. It establishes the film's gritty mood and hands-on vibe.

The filmmaker travels to Austin to visit Townes Van Zandt at his trailer, near the Clarksville area around 11th and Charlotte. Townes, his girlfriend Cindy, his dog Geraldine, and the surrounding atmosphere underscore the close-knit scene that nurtures the writers. The visit introduces Steve Earle and Rodney Crowell as young artists learning from mentors in this environment.

The crew meets Uncle Seymour Washington, known as The Walking Blacksmith, whose worldly advice anchors the film's mood. He embodies the Southern songwriter milieu and adds a human, communal thread to the portraits. His home scenes help frame the atmosphere that shapes the music.

Charlie Daniels takes the stage and fills a large high school gym with energy and showmanship. The performance demonstrates the reach and communal excitement of Southern roots music. It contrasts with the more intimate studio and storytelling moments elsewhere.

The camera follows David Allan Coe as he performs at Tennessee State Prison, revealing his past as an inmate and the raw storytelling in his set. He speaks about his experiences while sharing the songs that inform his voice. The performance culminates in a gospel number 'Thank You Jesus' performed with friends from the yard.

The documentary highlights Guy Clark's mentorship over younger artists, including Steve Earle and Rodney Crowell, whose first known recordings signal their future success. The scenes emphasize mentorship, discovery, and the beginnings of a new generation in the circle.

Steve Earle is shown as a fervent admirer of Townes Van Zandt, illustrating how cross-pollination among writers fuels their development. The relationships within the circle are framed as crucial to the songs they craft and perform.

The crescendo occurs as a drinking party unfolds at Guy Clark's Nashville house, stretching from Christmas Eve into Christmas Day. The gathering brings together Susanna Clark, Steve Young, Rodney Crowell, Steve Earle, Jim McGuire, and several other friends for music and conversation. The scene emphasizes camaraderie and collaborative spirit.

Steve Young leads the group in Hank Williams' 'I’m So Lonesome I Could Cry' during the gathering, anchoring the night in traditional country roots. The performance showcases the enduring influence of classic songs on these modern songwriters.

Rodney Crowell leads everyone in 'Silent Night,' weaving holiday warmth into the musicians' shared storytelling. The moment reinforces the film's theme of communal music-making across generations.

Throughout the documentary, clips and performances—not fully presented in the film—appear in B-roll or as excluded songs. Szalapski’s footage provides a broader sense of the era and the artists’ repertoire. These pieces include various songs that flesh out the scene beyond the core narrative.

The narrative centers on traditional folk and early country singer-songwriters from the South, contrasted with the previous generation. It emphasizes atmosphere, mentorship, and community as sustaining forces for the music, culminating in a shared sense of heritage and future potential.