Kacey Musgraves: Middle of Nowhere

This album is billed as a return to Kacey’s Texas roots and country music after a successful detour into pop. The album uses multiple Southern ingredients. According to the press release, Middle of Nowhere was:

“Written during a period of reflection and post-breakup clarity, this collection of songs finds Musgraves leaning intentionally into open space and traditional Western elements. Pedal steel, accordion and Texas dancehall rhythms provide a nostalgic framework that she flips on its head in signature fashion. It is a sonic love letter to the musical borders of country, echoing influence from adjacent genres such as bluegrass, pop, and even bits of Norteño and zydeco.”

Kacey also returns to the John Prine-like humor of her first two albums. She has a deep musical friendship with John Prine, often citing him as her greatest songwriting influence.

My first few listens were on Bluetooth headphones and in the car, and it sounded great, but on the Desert 🌵 Sessions stereo (streaming via Tidal at 24-bit 48 kHz FLAC), it sounds spectacular. The production really opens up. In addition to great songs and a great performance, this is a well-recorded album. I look forward to listening to it on vinyl (my daughter picked up a copy for me that is waiting for me when I return to Minneapolis).

I have been looking forward to Kacey’s return to country, and she does not disappoint. This is an excellent addition to her catalog.

Here is some track-by-track commentary:

“Middle of Nowhere” – out of cell phone range and away from “reckless men who don’t know what they want.” The song sets the stage that this is going to be a country album: acoustic guitars, pedal steel, and a little twang in Kacey’s vocals. Lyrically, it is introspective, but with a humorous wink. Despite Kacey being a country star, the vibe is more Americana than Nashville.

“Dry Spell” uses humor to make fun of the protagonist’s sexual dry spell, but at the same time, she appreciates living alone. Musically, it is upbeat honky-tonk.

“Back on the Wagon” is a nice country weeper. A troubled lover is behaving, for now (”You say he’ll fuck it up, but we’re so in love”). Gorgeous pedal steel solo (courtesy of Nashville legend Paul Franklin).

“I Believe in Ghosts” has a pop-rock vibe: country-fried Fleetwood Mac. It is a playful rant about a lover who abandoned the protagonist: “’Cause you didn’t even have the balls/To tell me goodbye/And look me in the eye.”

In “Abilene,” a woman skips town and her man. The tale is told through the gossip of other townspeople about her. Musically, it has a bluegrass vibe.

“Coyote,” featuring Gregory Alan Isakov, has a folk vibe. Isakov contributes a subtle vocal harmony to a pop-folk arrangement. “I saw a coyote running down the highway last night/And it made me think of you” – an ex-lover who can not be tamed – beware.

“Loneliest Girl” is about how relationships are messy, and the protagonist is “happy to be the loneliest girl in the world.” Musically, it is a country swing.

“Everybody Wants To Be a Cowboy” features Billy Strings’ very subtle vocal harmonies, but plenty of his smoking acoustic guitar. Not quite Bluegrass, Musgraves and Strings drift into pop. It is an absolute gem. The song makes fun of phony cowboys – what we used to call urban cowboys back in the day

“Horses and Divorces,” featuring Miranda Lambert, is about two women who have a beef with each other, only to realize they have more in common than in conflict. The song is a nice play on the supposed beef between Miranda and Kacey. That tension stemmed from the 2011 Miranda hit “Mama’s Broken Heart,” which Musgraves co-wrote and wanted to record, but was pitched to and recorded by Lambert before Kacey had a chance to include it on her debut. I am not sure how real the beef was as Kacey sang backup vocals on the Miranda hit.

“Uncertain, Texas,” featuring Willie Nelson, has a light dose of Willie’s vocal harmony, a sprinkle of Trigger (Willie’s guitar), and some norteño flavorings. The song makes fun of men who can’t commit:

“Here in Uncertain, Texas
Nobody ever makes up their mind
Down here in Uncertain, Texas
Nobody ever makes up their dusty, old, love-bombin’
Snake-charmin’, bullshitin’
Heartbreakin’, godforsaken, dumbass mind“

By the way, there is a real city in Texas called Uncertain.

Musically, “Rhinestoned” has a Glen Campbell vibe. Not sure if the protagonist is talking about a designer dress or a designer drug (but given this is “Spacy Kacey,” I think we can guess):

“Ooh, let’s put a little sparkle on
Ooh, until the heartache and the sadness is gonе
Baby, we don’t have to be alonе
Let’s get a little rhinestoned“

“Mexico Honey” has a unique, quick, almost rap vocal. Kacey has stated her affinity for Mexican music and culture. In an interview with NPR, she said:

“The truth is Texas would not be Texas without Mexico in many ways. Though I’ve always been drawn to it, I’ve really been fortunate to get to really experience that first hand myself down there seeing a lot of the vaquero and rodeo culture and where it comes from.”

The song doesn’t have a Mexican feel, but the song is not comparing a lover to Mexican honey – the key line is “You’re goin’ down smooth like Mexico, honey.”

“Hell on Me” ends the album with heartbreak. Despite the playfulness of the rest of the album – “I am having fun being single and unattached” vibe, this guitar ballad reveals the sadness behind the jokes.

There are a few other bonus songs on other streaming services that I don’t have access to, and so I can’t comment on them.

Overall, this is a great album. If not for the stumble of star-crossed (her 2001 4th album), she is on a great run. This is on par with the excellence of the rest of her catalog. I look forward to seeing her live later this year.