Kacey Musgraves on how she finally began writing about a happier side to love: 'It’s probably because I wasn’t in inspiring relationships. When I got happy, I was scared of not being able to create very well, and it really turned out to be the opposite'
surely didn’t title her most recent album “Golden Hour” to be some sort of self-fulfilling career prophecy. But there’s little doubt that she’s one of music’s 2019 golden girls, by virtue of her slow burn of a third studio album having culminated in a set of big Grammy wins, including the awards’ highest honor, album of the year. Just over a year after the collection came out, its afterglow won’t die.
But as much as we like to make those comparisons to country queens, all of whom were great songwriters, you have a specific singer-songwriter sensibility. I don’t know if I really can yet. What I have right now is a reflection on the first year of marriage. I haven’t had the chance to really get in the studio and play with it yet. But I could see it being a nod to a Bill Withers kind of a thing. That would be really fun to explore. But I’m also game for whatever. There are a lot of people that I want to write with, going into this new album. I would love to write with the Tame Impala guy, Kevin Parker. Sufjan Stevens would be amazing.
It seems like people sometimes equate feminism with feistiness, and maybe especially so in country music. But you have never felt like you had to have a lot of rave-ups or female-as-spitfire songs. Your manager, Jason Owen, has always made it very clear that you have all sorts of opportunities to get media attention that don’t involve country radio, and clearly that’s the case. But is it still important to you? Because when “Golden Hour” came out, there were two singles sent to radio at once, and it seemed like there wasn’t a concentrated push behind either one, so it appeared that it had already been decided: No, we’re gonna break her through other means.
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