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And in 2000’s “Goodbye Earl,” with its “nah-na-na-na-nah” chorus and “Thriller”-style choreography, they turned a song about killing an abusive husband into a delirious girl-power dance party.

But the joy of the Chicks came through best when they performed live, so stick with You Tube to find clips from their 2000 NBC concert special, .

Her voice is strong and sharp, the kind you feel in your chest when you hear it.

She punctuates the lyrics by cocking her head and throwing up her hands.

There were four of them then, all seasoned bluegrass players, even though Martie was a freshman at SMU and Emily just a high school sophomore at Greenhill.

The sisters’ parents were schoolteachers who introduced them to music early, then drove them to stops on the Texas bluegrass circuit as they grew up.

Along the way they met guitarist Robin Macy and bassist Laura Lynch, women in their early thirties who would round out the group, splitting vocals and bringing a smart business sense.

Their then-current album, had sold 6 million in six months.

Natalie acts as if the spotlight is the most natural place in the world for her. There’s a sisterhood thing happening, a collective sense of ecstasy and ownership and pride.

You get the feeling watching the younger faces that every time the Dixie Chicks took the stage, an arena full of girls decided to start a band, just as boys once did watching the Beatles on their moms and dads. Because nobody pictures giant zippers and family sing-alongs when they think of the Chicks anymore.

Basically western swing, very old-fashioned, very not-contemporary.

But the one thing that was very, very clear was that they were three beautiful girls, and incredibly talented, and they could really play.