Ahead of its May 1 release, Kacey Musgraves teased her sixth studio album, “Middle of Nowhere,” as a return to the more country-pop sounds of her Grammy-winning album “Golden Hour.” But as a whole, “Middle of Nowhere” leans much more into the country aspect, featuring artists most known for their country tunes and staying true to her Texan roots. Musgraves recently performed new songs from “Middle of Nowhere” as a surprise guest at week two of Coachella, giving attendees an early glimpse into her new sound. Her performance displayed a first look at the direction of her new album, a project more concerned with the journey over the destination. “Middle of Nowhere” doesn’t quite live up to her past albums, but it is still a fun, comfortable addition to Musgraves’ catalogue.
The album feels like going on a long drive, with no impactful destination and no hurry to get to the end. This is already apparent in the singles and first two tracks for the album, “Dry Spell” and the aptly named “Middle of Nowhere.” The title track is a highlight on the album, and the unexpected tempo changes add an interesting twist that the rest of the album unfortunately largely lacks; it sounds like it should play at the end of a melancholic coming-of-age movie. Although generally well received by fans, “Dry Spell” toes the line of being a little too on-the-nose. The witty and risqué lyrics are akin to a style one would expect from Sabrina Carpenter.
The next track, “I Believe in Ghosts,” really stands out on a first listen, leaning more into the sounds of pop. Its catchy tune and hook mean it arguably could have been the lead single instead of “Dry Spell.” The strong guitar presence gives the track more structure and adds to its memorable factor.
Although “Abilene,” the next track, presents an intriguing plot that serves as an older sister song to Musgraves’ 2013 song “Blowin’ Smoke,” it doesn’t quite match that narrative strength sonically. “Coyote,” however, is another clear highlight track with a deeper emotional weight. Featuring Gregory Alan Isakov’s haunting background vocals, the song is probably Musgraves’ most reminiscent of her 2024 folk-pop album, “Deeper Well.” The concept is fresh as well, as Musgraves sings about a past love who was unable to show up for her out of fear.
The most emotionally honest track is definitely “Loneliest Girl.” It could easily become a more popular song on the album, not just because of the radio-friendly sound but because of its relatable lyrics for any introvert. Its lyrical simplicity actually works in its favor, and the natural honesty is refreshing.
The following batch of songs all feature other artists; the first two are “Everybody Wants to Be a Cowboy,” featuring Billy Strings and “Horses and Divorces,” featuring Miranda Lambert. Neither are particularly standout tracks on the album, as their interesting concepts never really get fully developed. Despite this, “Horses and Divorces” has the compelling quality of basically being a country version of “Girl, so confusing,” by Charli xcx and Lorde, but instead, addresses the real-life “feud” between Musgraves and Lambert. The next song is “Uncertain, TX,” featuring Willie Nelson, which actually offers a novel highlight. The unique blend of Tejano music and classic country offers a fun departure in sound from the rest of the album.
The final stretch of songs on “Middle of Nowhere” takes the listener on a roller coaster of emotions, leaning into the contrast of loneliness and finding oneself. “Rhinestoned” is a bright, more easygoing and uplifting tune. The lyrics of “Mexico Honey” return to the witty cleverness of “Dry Spell,” but act as its tonal antithesis with a sultry, ethereal sound. The closing track, “Hell on Me,” causes a bit of thematic whiplash, as the stripped-back confessional lyrics simultaneously leave the album feeling unresolved and finalized with acceptance.
The concept of unresolved feelings is present throughout most of the album. Feelings of in-betweenness of uncertainty and resolution make up the entire listening experience. In this way, “Middle of Nowhere” proves itself to be very cohesive as a whole but that is also its greatest fault. Aside from the standouts, many of the songs blur together, especially those with a more mainstream pop-country sound. It is not an attention-grabbing album on a first listen due to this lack of variation.
Despite this, the album does grow on you after a few repeats, once you realize that it’s not meant to be flashy or loud. “Middle of Nowhere” is more like a meandering, reflective journey through … well, the middle of nowhere. This is only made more fitting because the sounds of the album are perfect for a road trip playlist, driving through the desert with the windows down. Musgraves’ story is less about the destination and more about the hopeful honesty that comes from reflecting on the journey. If that is kept in mind, “Middle of Nowhere” becomes a much more relatable and rewarding listening experience.
Rating: 3.5/5 stars
