Kacey Musgraves followed her arrow on this year’s Golden Hour, and it paid off in a genuine, beautiful record that’s fun to listen to. The songs explore self-worth and the value of myriad kinds of relationships — with parents, siblings and friends; with romantic partners; and with yourself. While Musgraves’ earlier records showcased her aptitude for looking at broader social issues, Golden Hour offers self-examination that isn’t selfish or solipsistic. “High Horse,” a disco-tinged fan favorite, is a supremely satisfying kiss-off to someone who has what you might call “a high opinion of their opinion.”
The album’s production leans heavily toward sounds from pop (there’s even a vocoder duet in there), which is a perfect organic fit for the songs. Musgraves has enjoyed an audience outside the country realm for years, but more rock and pop fans have shown their excitement about her this year than ever. Musgraves’ first tour after releasing the album on March 30 was as supporting act for One Direction standout Harry Styles’ arena trek, and her fall-and-spring headlining tour (with many dates slated to be opened by pop and rock acts including Natalie Prass, Liza Anne, Soccer Mommy and Sinclair) indicates an even closer alignment with the wide world of pop.
That doesn’t mean Musgraves has turned her back on country music. The songs on Golden Hour, many of which she wrote with partners other than her frequent collaborator Shane McAnally, feature the kind of insightful, conversational storytelling found in the best country songs. The country establishment recognizes Musgraves’ outstanding efforts — she’s nominated for Album of the Year and Female Vocalist of the Year at the upcoming 52nd annual CMA Awards. But as Musgraves is quick to point out, she’s the only woman nominated for Album of the Year and one of a handful to be nominated at all, continuing a frustrating pattern.
“I can’t say exactly why this is still an ongoing issue, but the current formula or way music is serviced and pushed in modern country music just doesn’t allow for equality,” she said in a September interview with Billboard. “I’ve seen indications of the genre opening its mind, but unfortunately no hard proof yet in a lot of areas that matter — radio play, award shows, festival billing, etc.”
In Golden Hour’s opening track “Slow Burn,” Musgraves sings about the value of being patient and savoring the present moment. But with respect to her career, she’s proven herself time and time again. Why wait around for the industry to catch up? STEPHEN TRAGESER
