REVIEW: KACEY MUSGRAVES: MIDDLE OF NOWHERE

by Michael McCarthy

Kacey Musgraves continues to be one of the most unpredictable artists working in modern country and Americana. With each new release, she seems less interested in repeating herself and more interested in following wherever her songwriting instincts take her. Her newly released album, Middle of Nowhere, continues that pattern — and like several of her recent records, it may take some listeners a little time to fully appreciate what it’s doing.

Musgraves first broke through with albums that blended traditional country influences with sharp humor and witty, often sarcastic lyrics. Those early records stood out because they felt rooted in classic country songwriting rather than the polished, formulaic sound dominating much of mainstream country radio. Songs were catchy, clever, and often genuinely funny.

That began to change with 2018’s Golden Hour, an album that leaned heavily into dreamy textures and electronic production. While critically acclaimed, it marked a noticeable shift away from the playful humor that had defined much of her earlier work. The songwriting became more introspective and emotionally subdued. It was a departure that took some adjustment, even for longtime fans.

She pushed even further into pop territory on star-crossed, an ambitious breakup album filled with strong material but also a few divisive moments. One particularly controversial song, “Good Wife,” explores the internal monologue of a woman trapped in an unhealthy marriage. While the song clearly aims to portray emotional conflict rather than endorse toxic relationships, its lyrics can still feel uncomfortable when taken at face value.

Then came Deeper Well, a stripped-down, folk-leaning record that largely abandoned both country conventions and pop production flourishes. At first, its mellow atmosphere and understated songwriting could seem almost too restrained. Over time, however, the album revealed its quiet strengths and became one of Musgraves’ most rewarding listens.

That history is important when approaching Middle of Nowhere. This is now the fourth consecutive Kacey Musgraves album that doesn’t necessarily deliver instant gratification. Instead of obvious radio-ready hooks or immediate earworms, the record unfolds gradually.

One encouraging development is the return of some of Musgraves’ humor and personality. Tracks like “Horses and Divorces” and “Uncertain, TX” bring back some of the wit that longtime fans may have missed in recent years. Elsewhere, songs like the title track and “Back on the Wagon” feel more restrained and could arguably benefit from a little more energy and momentum.

Still, albums don’t always need immediate hooks to become meaningful. Some of the best records reveal themselves slowly over repeated listens, and Musgraves has repeatedly proven that her music tends to reward patience. If her recent artistic evolution is any indication, Middle of Nowhere may ultimately become another grower — the kind of album that quietly deepens its hold over time rather than demanding attention immediately.