Middle of Nowhere (Kacey Musgraves album)

American singer and songwriter Kacey Musgraves released her sixth studio album, Deeper Well, in March 2024, and its deluxe edition that August.^[5] In April 2025, she signed with the relaunched Lost Highway Records as the label's first signee, since Interscope Records announced the revival. Musgraves originally signed to Lost Highway in 2011 as its final artist signing, before the label folded into Mercury Nashville a year later.^[6] She released several singles that year, including "Lost Highway" and "If the World Burns Down".^[5]

According to the press release, Middle of Nowhere was "written during a period of reflection and post-breakup clarity".^[1] Musgraves worked on the album while single and "leaning into" herself,^[7][8] co-writing every song of the album.^[9] She enlisted her longtime collaborators to write and produce the album,^[10] reuniting with Luke Laird, Shane McAnally, Josh Osborne, and Brandy Clark, who contributed to her first major label albums. American songwriters Daniel Tashian and Ian Fitchuk who she began working with on her fourth studio album, Golden Hour (2018), also reconciled with her.^[11] American singers Willie Nelson, Miranda Lambert, and Billy Strings, and South African musician Gregory Alan Isakov participated as featured guests in the album;^[12][13] it marked Musgraves's third collaboration with Nelson, following "Are You Sure" and "A Willie Nice Christmas". Her collaboration with Lambert arose after she reached out to write about their shared experiences, during which they addressed lingering tensions related to "Mama's Broken Heart" (2013), a song she had co-written that was ultimately recorded by Lambert.^[14]

Middle of Nowhere was partly inspired by Musgraves's experiences of solitude and self-definition. She said it felt "incredible being alone" and described herself as "existing in a space not defined by anyone else". Expressing an interest in the concept of "liminal space, both geographical and emotional", she explained that she became comfortable inhabiting transitional, undefined states and the "middle of nowhere" in many senses, and that she spent time between Texas, Tennessee, and Mexico.^[b] Musgraves also noted to Apple Music that the album differed from her usual approach to music-making, stating that she began writing while going through a breakup, during which she was reevaluating aspects of her personal life and spending more time alone.^[20]

Middle of Nowhere's cover artwork features Musgraves standing against a plain backdrop, wearing a felt Stetson, vintage Levi's, and a white tank top, with a spotted steer positioned behind her which her friend brought from his ranch.^[19][11] The photograph was taken in Deep Ellum, Dallas, by her sister Kelly Sutton—after the pair spent an afternoon moving the animal through the area in search of a suitable setting.^[19] Musgraves was careful to present "those pieces of Texas and country life that often get overlooked" as opposed to something "cliche".^[11] She noted that the artwork was not artificially generated, despite assumptions to the contrary.^[19]

The title of Middle of Nowhere and its concept came from exploring Musgraves's roots in Texas. While wandering around her hometown, she noticed a sign that said, "Golden, Texas: Somewhere in the middle of nowhere".^[8][9] She stated that she found herself "being totally okay in this proverbial 'middle of nowhere'", and elaborated that it could be "how you feel relationally or emotionally. It could be someone in between jobs. It can be between relationships or even geographically speaking." She felt drawn to the physical liminal places like airport terminals.^[11]

Middle of Nowhere is inspired by Musgraves's Texas upbringing, drawing on genres including Western swing; bluegrass; 1970s, 1980s, 1990s country; traditional Mexican music like norteño and mariachi; and zydeco.^[c] It also features Tejano influences; Musgraves told W magazine that she "ha[d] always been such a fan of Norteño and Tejano music", and the time she spent in Mexico "naturally" influenced the album's sound.^[24] Some critics believed that Musgraves had returned to the country music in the album,^[25][26] which features sounds of accordion, pedal steel, and dancehall rhythms of Texas^[d]—a "sonic love letter to the musical borders of country", according to press release.^[29] Other critics noted its prominent pedal steel sound throughout the album; Steve Erickson of Slant Magazine believed that it often functions as a secondary melodic voice with restrained solos that emphasize its expressive tonal qualities.^[30] Flood Magazine author Josh Hurst similarly described the record as Musgraves's most overtly country-oriented release, highlighting its pervasive use of twang and pedal steel.^[4] Middle of Nowhere also contains steel guitar and two-step elements reminiscent of waltz.^[e]

Middle of Nowhere shares stylistic elements with Deeper Well, while it marks a more pronounced return to country influences. Its polished production, handled by Daniel Tashian and Ian Fitchuk, was seen by Grant Sharples of Paste as preventing it from fully recapturing the rustic character of Musgraves's earlier work, which results in a sound some viewed as transitional rather than ingenuity.^[32] Other critics debated various sounds in the album; NME's Cordelia Lam highlighted Tejano sounds inherent in the album,^[31] while Erickson found its neotraditional country sound.^[30] Lyrically, Middle of Nowhere reintroduces a sharper lyrical edge with more pointed and incisive songwriting, in contrast to Deeper Well;^[33] Musgraves wrote its tracks "in the throes of Deeper Well".^[19] Middle of Nowhere continues her conversational and candid style of lyrics, at times emphasizing a direct, down-to-earth tone over the more poetic approach of her earlier work.^[34]

Songs

"Middle of Nowhere"

The album's title track includes acoustic guitar and strums sound, whose chorus is a different beat from the first verse.

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Middle of Nowhere's title track features sounds of acoustic strums and guitar; it starts off with a gentle step, and in the chorus, it turns into a waltz sound.^[35][36][37] The song is set in ³
₄ time during the first verse, before shifting to ⁴
₄ time in the second verse.^[19] In "Dry Spell", Musgraves uses double entendres in lines like "Ain't nobody's tool up in my shed... Ain't nobody's truck up in my drive."^[32][30] The ballad tracks, "Back on the Wagon" and "Uncertain, TX", are about a bitter and toxic relationship that contain what Laura Molloy of NME described as "line dance break[s]".^[38] The former track presents a style of Garth Brooks story about a woman repeatedly returning to a partner who promises to change, while its chorus plays on internal rhyme.^[28] "I Believe in Ghosts" is a pop song, marking a return to 1970s rock influences.^[39][28] The fifth track "Abilene" follows a woman who leaves the titular town in search of something better, drawing thematic parallels to "Blowin' Smoke" (2013), which described unrealized small-town aspirations.^[28]

"Coyote" adopts bluegrass elements^[39][31] and depicts a former lover who remains elusive, drawn to "pretty things that can't be held", according to Pitchfork's Molly Maren O'Brien.^[28] The seventh track "Loneliest Girl" features banjo elements,^[40] with a gentle pedal steel–driven arrangement and presents a narrator who insists she is content being alone.^[41][42] A collaboration with Miranda Lambert, "Horses and Divorces", is a norteño-influenced waltz that addresses their previously reported feud.^[28][33] The Guardian author Laura Snapes felt the track sounded like a country version of English singer Charli XCX's song, "Girl, So Confusing".^[41] "Uncertain, TX", a collaboration with Willie Nelson, incorporates accordion and a shuffling rhythm influenced by cumbia, a genre with Colombian origins that later became famous in Mexico.^[43] On country-disco track "Rhinestoned",^[44] Musgraves combines elements of Nashville country style.^[27] It adopts a light, groove-driven style, while the next track "Mexico Honey" features rap verses and a looser and thrilled tone.^[45] The closing track "Hell on Me" is arranged with minimal instrumentation, built around acoustic guitar and pedal steel alongside Musgraves's vocals.^[30]

When a fan asked for details about the album on March 1, 2026, Musgraves replied four days later with a cow face emoji, echoing the cow imagery used in the promotional posters that soon began circulating online.^[46] That day, posters and billboards featuring an image of Musgraves with her back turned to the camera appeared in several major United States cities, including Nashville. The advertisements included the message "Dry Spell? Call for a Real Good Time."^[47][48] Calling the number displayed on the posters led to a recording that began with a three-tone sequence similar to the signal heard when a number is misdialed or out of service.^[47][48] In her Instagram page, she embedded a caption, "Welcome to the Middle of Nowhere".^[2][49]

On March 11, 2026, Musgraves unveiled Middle of Nowhere's cover artwork, release date, and track list along with the lead single, "Dry Spell".^[1][50] The single's music video was directed by Hannah Lux Davis and premiered the same day;^[1][51] it took place in a grocery store where Musgraves fantasized about one of the employees.^[7] The track peaked at number 55 on the US Billboard Hot 100 as well as number 15 on the US Hot Country Songs chart.^[52][53] On April 15, 2026, Musgraves was announced as a surprise performer on the second weekend of Coachella 2026.^[54][55] During her set, she performed "Dry Spell" as the final song, debuting "Back on the Wagon", "Uncertain, TX", and the album's title track,^[38] released as the second single on April 17 ahead of her Coachella performance.^[56][57] It reached number 32 on the US Hot Country Songs chart.^[53] She kept promoting her album prior to the release, singing "Mexico Honey" at London's Circuit and teasing "Rhinestoned" through her Instagram.^[58] On April 29, Spotify hosted an exclusive event for celebrating Middle of Nowhere's release.^[59] "Loneliest Girl" was serviced on May 4 to the US country radio, serving as the album's third single.^[60] It peaked number 36 on the US Hot Country Songs chart.^[53] A day later, Musgraves unveiled an exclusive edition through iTunes and her website, featuring two additional bonus tracks—her version of "All My Exes", and "Caballero".^[61][62] That day, she went to Walmart dressed as an armadillo to further promote the album.^[63][64]

More information Aggregate scores, Source ...

Professional ratings

Aggregate scores
Source	Rating
AnyDecentMusic?	7.7/10[72]
Metacritic	82/100[73]
Review scores
Source	Rating
AP News	[39]
Clash	8/10[74]
The Guardian	[41]
The Independent	[33]
NME	[31]
Paste	C[32]
Pitchfork	7.6/10[28]
PopMatters	7/10[75]
Rolling Stone	[40]
Slant Magazine	[30]

Close

On Metacritic, which assigns a normalized score out of 100 to ratings from professional publications, Middle of Nowhere received a weighted mean score of 82, based on 15 reviews, indicating "universal acclaim".^[73] The review aggregator AnyDecentMusic? assigned it a weighted average score of 7.7 out of 10 from 18 critic scores.^[72]

Critics highlighted the album's themes of solitude, reflection, and self-definition. Tim Cumming of The Arts Desk wrote that Middle of Nowhere is shaped by post-breakup reflections and a feeling of isolation—noting that its central perspective is one of being "nowhere, and not even getting there fast".^[76] Similarly, Cordelia Lam of NME identified a central sense of chosen solitude, and emphasized its portrayal of independence rather than loneliness.^[31] Roisin O'Conner of The Independent also lauded a more resolved and purposeful tone compared to Deeper Well, alongside sharper lyricism and emotionally direct songwriting.^[33] Clash's Joshua Khan believed that Middle of Nowhere yearns "simplicity", and described it as drawing on country and soul elements that are "spurred by uncomplicated bliss". He added that her voice "rarely complicates her desire to embrace the undefined".^[74] Josh Hurst of Flood Magazine depicted the album as being shaped by a "liminal" period between relationships; he interpreted its songs as reflections on solitude and the lessons drawn from an extended period of being alone.^[4]

Several reviewers focused on Middle of Nowhere's musical direction and genre blending. Writing for Riff Magazine, Pipe Westrom noted that she "turns inward" on the album while also expanding her sound. He highlighted its incorporation of influences from Texas and northern Mexico, and wrote that Musgraves balances humor with plainspoken lyricism while continuing to develop her musical style.^[77] Ljubinko Zivkovic of Beats per Minute observed that while it appears rooted in traditional country elements, it instead integrates those elements into a broader stylistic framework.^[27] Writing for Pitchfork, Molly Mary O'Brien similarly characterized the record as an expansive yet focused survey of country music traditions, particularly emphasizing Musgraves's Texas heritage.^[28]

Critics also commented on relationship of Middle of Nowhere to Musgraves's earlier work. Maya Georgi of Rolling Stone described it as a return to her roots, noting its "twangier" sound and framing it as a "hard-won homecoming",^[40] while Laura Snapes of The Guardian highlighted its understated arrangements and rural influences.^[41] Maria Sherman of AP News likewise noted a shift away from the folk-leaning sound of Deeper Well, though she argued that it does not fully replicate the style of Musgraves's earlier country records.^[39] The Daily Mississippian writer Taf Flanders stated that Middle of Nowhere combines lyrical themes reminiscent of Musgraves's later releases with rhythms associated with her earlier country-oriented records, though he felt it does not pursue a radically different sound or aesthetic.^[78] Chris DeVille of Stereogum described the album as "full of such treasures", viewing it as a form of homecoming that still avoids strict genre boundaries.^[79] The New York Times author Lindsay Zoladz likewise viewed it as a return to form, and described it as Musgraves's strongest work since Golden Hour. She contrasted its more grounded tone with the relative serenity of Deeper Well, and interpreted the record as a meditation on the distinction between loneliness and solitude rather than a conventional breakup album.^[80]

The album's production and instrumentation were frequently discussed, particularly its use of regional styles. Steve Erickson of Slant Magazine observed a "palpable melancholy" in its arrangements; he noted their connection to the settings described in the lyrics and pointing to the incorporation of Mexican norteño influences.^[30] Hurst also characterized Middle of Nowhere as Musgraves's most overtly country-leaning release, as he noted its prominent use of pedal steel and twang alongside a comparatively "dusty" and restrained production style, in contrast to the more expansive sound of Golden Hour.^[4] PopMatters's Jefferey Davis considered the album as Musgraves's most traditionally country-oriented album in over a decade, and argued that its themes and narrative perspective retain broad emotional accessibility despite its more conservative production style.^[75]

Critical assessments of Middle of Nowhere's overall impact were mixed; Grant Sharples of Paste described it as a transitional work that does not reach the heights of Musgraves's earlier releases, though he considered it a competent addition to her catalog.^[32] In contrast, Lam praised its thematic cohesion and restrained sound,^[31] while O'Connor viewed it as a confident and purposeful statement.^[33] Sherman highlighted its strong songwriting despite its stylistic shifts—suggesting that its sense of space and scale contributes to its appeal.^[39] Richard Burn of Attitude noted that it is not strictly a breakup record, which centers on introspection and hindsight instead. He also portrayed the album as occupying a distinctive place in Musgraves's discography, combining a return to country elements with more contemporary production. Burn added that Middle of Nowhere should not be viewed as a continuation of Golden Hour.^[42]

Carena Liptak of Taste of Country rated "Uncertain, TX" as the "perfect song about a town full of disappointing men", ranking it the highest.^[81] Billboard's Melinda Newman thought "Coyote" is the album's best track, depicting it as "gorgeous and poignant". In the same review, Jessica Nicholson ranked "Abilene" the lowest, writing: "Musgraves'[s] haunting voice makes the song even more enchanting."^[82]

Middle of Nowhere debuted at number three on the US Billboard 200, with 100,000 album-equivalent units—Musgraves's best first week unit sales of her career and her sixth consecutive top ten debut on the chart.^[83][84] It also charted number one on the US Top Album Sales, Vinyl Albums, Indie Store Album Sales, while reached number 2 on the Top Country Albums and Americana/Folk Albums chart.^[85] In the United Kingdom, Middle of Nowhere opened at number seven and became Musgraves's fourth consecutive top 10 album on the UK Albums Chart.^[86] It also entered atop on the UK Country Albums Chart, becoming her sixth consecutive album to reach the top spot on the chart;^[87] the album reached number two on the UK Americana Albums Chart.^[88]

Internationally, Middle of Nowhere charted within the top 20 in several countries, including Australia,^[89] Austria,^[90] Belgium (Flanders),^[91] Canada,^[92] Germany,^[93] New Zealand,^[94] and Switzerland.^[95] The album also reached number two on the Australian Country Albums chart and peaked at number four on the Scottish Albums Chart.^[96][97]

Credits are adapted from the liner notes and Tidal.^[100][98]