Two-time Grammy-winning country artist Kacey Musgraves returns with a magnificent, third studio album, ‘Golden Hour’, which appeals beyond the country audience.

Kacey Musgraves is back at it! The two-time, Grammy-winning country artist returns with her first original material since Pageant Material (2015).  Unfortunately, Pageant Material was an incredibly underrated affair.  It shouldn’t have been.  “No need to cry over spilled milk,” as the old saying goes. Musgraves shines on her highly-anticipated, third studio album, Golden Hour.  Maybe the following saying is cliché, but more casual and non-country music fans will appreciate and potentially love this project.

“Slow Burn”

“Slow Burn” kicks off Golden Hour pleasantly.  Musgraves delivers easy-going, smooth vocals.  The songwriting is solid, yet relatively simple and ‘down to earth.’ “Lonely Weekend” continues the smooth, relaxed vibes of the opener.  There’s a bit more oomph instrumentally and vocally, but again, Musgraves, despite being lonely, still doesn’t seem too bothered.  At least it doesn’t show…

“Butterflies”is captivating from the start, thanks to its exuberant sound and groove. The sound palette includes acoustic guitar, bass, piano, and of course drums.  While this is well-produced record, it’s not the least bit overproduced. “Butterflies” maintains a certain amount of simplicity.  Musgraves serves up beautiful, easy-going vocals, continuing the poise that characterizes the first two songs. Both verses are few in words, but incredibly effective.  While there are some country cues, “Butterflies” doesn’t feel concretely country. There’s a wider appeal beyond the base. The chorus is the centerpiece – it’s memorable and radiant.  Beautiful vocal harmonization makes “Butterflies” even more colorful overall.

“Oh, What a World”

The introduction of “Oh, What a World” features vocoder – how country music has changed.  Beyond that surprise, the record is laid-back and beautiful sans labels. Musgraves sounds calm, cool, and collected – incredibly mellow.  The overall sounds of “Oh, What a World” reflects the same – even the banjo is comes off relaxed.  Piano ballad “Mother” follows in all its beauty, clocking in at under one-minute-and-a-half. She continues her easy-going approach on the “Love is a Wild Thing.” Like most of Golden Hour, possesses a hypnotic quality.  The harmonized vocals are glorious, and while there’s still a driving rhythmic force of acoustic guitar and banjo, it feels natural as opposed to obnoxious.

“Space Cowboy”

On “Space Cowboy”, Musgraves delivers beautiful, expressive vocals from the jump. The clarity that she sings is a major selling point.  Notably, she doesn’t employ twang, which takes away an ‘in your face’ countrified vibe. This is clearly a country song but has a wider appeal than most because it doesn’t feel forced.  Musically, the country cues happen naturally, particularly the subtlety and timely appearance of steel guitar. What does the title mean? Ultimately, Musgraves speaks about breaking things off, best evidenced by the chorus.

“You can have your space, cowboy

I ain’t gonna fence you in

Go on, ride, away in your Silverado

Guess I’ll see you ‘round again

I know my place, and it ain’t with you

Well, sunsets fade, and love does too

Yeah, we had our day in the sun

When a horse wants to run, there ain’t no sense in closing the gate

You can have your space, cowboy.”

Musgraves loses no momentum following “Space Cowboy.” She maintains the utmost consistency on the groovy, mellow “Happy & Sad.” The chorus is the centerpiece.  Even better is the even groovier, retro-pop/throwback county gem “Velvet Elvis.”  Naturally, reference is made to the ‘King’ as Musgraves wants to show off her man to the world. Simply put, “I knew it as soon as I felt it.” The anti-superhero makes its bow on “Wonder Woman,” where a lack of superhero powers won’t thwart a successful relationship.

“High Horse”

Addressing the elephant in the room– is “High Horse” really a country song?  While Kacey Musgraves has a dash of country sensibility vocally, and the production has some subtle country cues and instrumentation, “High Horse” owes a lot to old-school dance and soul.  For traditionalists, country’s blurred lines might bother them. More open-minded listeners will find the ambiguous nature of “High Horse” more endearing than country purists. Musgraves still musters up a good narrative that is fitting for the country fans – someone who thinks they’re the STUFF.

“‘Cause everyone knows someone who kills the buzz

Every time they open up their mouth

Yeah, everyone knows someone who knows someone

Who thinks they’re cooler than everybody else…

And I think we’ve seen enough, seen enough

To know that you ain’t ever gonna come down

So why don’t you giddy up, giddy up

And ride straight out of this town

You and your high horse…”

Title track and penultimate cut “Golden Hour” doesn’t disappoint – not with that robust bass line, groove, or harmonic progression. Kacey Musgraves keeps on doing Musgrave things, and it’s delightful. “Rainbow” caps off a fabulous album with an expressive, terrific piano ballad.  Her voice has been on-point throughout, but “Rainbow” is arguably one of Musgraves’ very best performances.

Final Thoughts

Kacey Musgraves shines throughout the course of Golden Hour– there’s no other way to put it. This mellow, subtle set has a hypnotic quality, sucking the listener into its laid-back, simplistic beauty.  Honestly, there’s really nothing notable to criticize.  Maybe it’s too mellow at times, but other than that, the country singer with wider appeal beyond the country audience does a victory lap with Golden Hour.

Gems: “Slow Burn,” “Butterflies,” “Space Cowboy,” “Velvet Elvis,” “High Horse” & “Rainbow”  

Kacey Musgraves • Golden Hour • MCA Nashville • Release: 3.30.18

Photo Credit: MCA Nashville