Jane Hobson’s new single exudes an empathetic warmth

Not a lot of singer-songwriter types can claim to be both as prolific and as consistent as Jane Hobson. Since 2021, the songwriter has released several songs per year. And in every instance, the songs contain a wealth of emotional force. Over the course of those releases—seven singles and two albums—Hobson has honed her songwriting skillset with exacting precision, developing into one of Madison’s more prolific and consistent singer-songwriters. Hobson has released three singles (so far, at least) in 2025: “Girls In Chicago,” “25,” and “Walking In Circles.” The latter track’s mid-September release plays directly into the song’s distinctly autumnal penchant for lightly haunted self-reflection.

Crucially, “Walking In Circles” is also a testament to the songwriter’s capacity for conveying empathetic warmth. It’s a no-frills, folk-indebted indie-rock affair, and it’s an exceedingly memorable two and a half minutes. Within that relatively scant timeframe, Hobson executes a simple narrative with the impact of a dropped anvil. It’s mesmerizing to experience, but it’s possible to be crushed by the descent. Danger and beauty coalesce into a disquieting meditation on identity, solidarity, and the fundamentally critical value of having access to a healthy support system.

“I didn’t know what to say / Or how to keep away the mess I made / A girl who puts down roots / Who does not care what no watering will do / A petal in the dark / Becomes a ripened fruit,” sings Hobson in the song’s second verse. As a metaphor for finding unexpected hope in the midst of being completely adrift, it’s poignant. When that metaphor gets applied to the societal moment we’re collectively living through, it cuts even deeper. At its core, a lot of Hobson’s lyrics function this way: observations that seem plain on the surface, but convey genuine weight via intensely thoughtful narrative frameworks that function in layers. 

Helping matters further is that Hobson’s assembled backing band is capable of conveying those messages with tact and tastefulness. From James Strelow and Alec Bertoy’s elegantly subdued, melancholic lead guitar figures, to Eva Paddock’s gentle (and gently distorted) bass, each contributes an exceptional, understated musical performance. Max Grazier’s percussion cuts through cleanly, providing some level of urgency. And Hobson’s father—legendary local musician Dan Hobson of Killdozer—heightens the track’s intensity with intuitive drumming that serves the song’s emotional heft.

Jane Hobson remains the heartbeat of “Walking In Circles,” infusing it with a distinct, winsome identity. As has been the case with a number of her songs to date, “Walking In Circles” features an earworm of a chorus, played to perfection. “So how’d I catch you with a flower in your hair? / It was a year without rain / I was still spinning around in my maze / How did I find you then?” sings Hobson in a lilting melody, drums and bass punctuating an emphasis of wonderment in an otherwise bleak, chaotic environment. Even with a subtly foreboding bassline hovering over the lyrical narrative like a storm cloud, the overwhelming gentleness of the chorus manages to evoke a lightness that should be evasive.   

In all, “Walking In Circles” is yet another testament to Hobson’s sense of craftsmanship and unyielding conviction. The track’s runtime flies by, but the song itself still inflicts a wound of its own. Few people writing songs in Madison are as adept at authoring tracks that convey both damage and optimistic romanticism in equal measure. There will always be reasons to hurt, and there will always be reasons to feel thankful. On the latter front: we should all be thankful that Hobson doesn’t seem intent on stopping anytime soon.

Jane Hobson’s next live performance will be at Atwood Music Hall on Friday, October 3, as part of the venue’s ongoing Locals Only series.