Album Review – Luke Bell’s Self-Titled Album is a Traditional Gem

Luke Bell Self Titled Album

Once upon a time country music was never questioned to be country music. It was authentically traditional through and through. Every song had some combination of a steel guitar, fiddles, harmonica and piano. Wouldn’t it be nice to take a time machine back to the golden days of country music? Well you can. Meet Luke Bell. Born in Lexington, Kentucky and raised in Cody, Wyoming, this country troubadour keeps it traditional with his music. He landed on a lot of people’s radars a few years ago when he released the album Don’t Mind If I Do. This led to him inking a deal with William Morris Endeavor and opening for the likes of Willie Nelson, Hank Williams Jr. and Dwight Yoakam. Now Bell is back with a new self-titled album, in which he described in an interview with Saving Country Music (recommended read) as “very much in the grounds of the traditional country songwriting format.” Well after listening to this album many times over I can confidently say that you probably won’t find a more excellent, traditional country sound this year.

Channeling his inner Hank, Bell sings of heartbreak on “Sometimes.” And when I say channel his inner Hank, everything about this song and really album take you back to country music in its purest form. There are steel guitars and fiddles throughout. Traditional country fans will instantly be in nirvana. “All Blue” is about a rambling man who’s always on the run and leaving behind his lovers as he goes. He’s all blue all the time, but knows he has to keep going and can never stay. There’s lots of harmonica throughout this one. It’s the perfect traveling song. The easy to sing along with “Where Ya Been” follows. Steel guitar and fiddle drive this easy-going, drinking song that you’ll find yourself getting stuck in your head real quick. There aren’t any frills about this song, but Luke Bell and real country music doesn’t need frills to be great.

The two stepping “Hold Me” will have you tapping your feet along with the rhythm. It’s about a heartbroken man dancing with another woman on the dance floor as he sees the woman who left him and he still loves holding the arms of another man. Part of him hopes it makes her jealous and another knows he needs someone to hold at the moment. For those who missed good old country songs you can dance to, this is your song. Next is the waltzing “Loretta,” in which a man sees his woman slowly drifting away from him. They shared a lot of great times and she used to look at him with love in her eyes. But now she’s off chasing fame while he’s left heartbroken and alone. The instrumentation throughout this entire album is excellent, but it just really stands out to me on this song. The fiddles, steel guitar and piano come together perfectly. This is how country music is meant to be heard.

Bell shows off his yodeling skills on “Workin’ Man’s Dream.” Yes, you read that right he can yodel and he’s pretty damn good at it too. You don’t hear much yodeling in country today despite it being very much a part of the history and soul of the genre as the likes of Hank, Bob Willis, Roy Rogers, Ernest Tubb and Bill Monroe yodeled in many of their songs. It’s a lost art that Bell revives with this song and it’s refreshing to hear. “Glory and The Grace” reminds of you the days when it was called country & western because there’s very much an influence from the latter in this song. As you listen to this song, it puts you in mind of a dusty old saloon with a bunch of cowboys sitting around in the old western days.

One of the standouts to me on this album is “Bullfighter.” In this song Bell sings about being the greatest bullfighter to live and how his fight will never die, even in old age. One of the reasons I enjoy this song so much is that when I hear Bell sing I hear a lot of the late, great Merle Haggard. It’s the deep, rich voice that sounds like Bell has been doing this for multiple decades. I don’t throw this comparison around lightly either. Bell is the real deal and this song is proof. Bell keeps the western influence going on “Ragtime Troubles.” The song is about a man who enjoys drinking, smoking and playing poker. Instead of feeling bad about his choices though, he enjoys them. He isn’t letting the bad times get him down and instead lets the good times roll. It’s just a fun song where you can forget your own troubles and enjoy the great music you’re hearing.

Bell closes the album out with “The Great Pretender.” This slow waltz is about a man who regularly has women fall in love with him, but he knows they’re going to be hurting after realizing he’s the great pretender who disappears after spending a night together. By the end of the song though he comes across a woman he falls in love with and she turns the table on him, as he finds a note from her after a night of love to say that she’s the great pretender herself. You spend the entire song kind of thinking this guy is a jerk, but in the end he gets a taste of his own medicine and all is right. It’s a strong song to end the album and really leaves you wanting to hear more from Bell.

Luke Bell’s new self-titled album is a traditional gem that shines from start to finish. It’s an album that couldn’t be more country if it tried. Bell is such a naturally gifted vocalist who makes it sound so easy when he sings. It can be easy to call Luke Bell a throwback, but really this is just how country music is supposed to sound. Bell is just someone who gets it. This is clear when you hear all of the steel guitar and fiddle throughout each song. It’s clear with the quality songwriting that draws from relatable and simple themes that the common man can connect with and understand through their own experiences. Bell could very well be the next big name to come from the independent country scene. He’s every bit as talented as the biggest names to come from the scene in recent years like Sturgill Simpson, Jason Isbell and Chris Stapleton. Bell is an artist that every music fan should hear and can’t recommend this album enough.

Grade: 10/10

Album Review – Michaela Anne’s ‘Bright Lights and the Fame’

After releasing her second album, Americana singer and songwriter Michaela Anne moved from her home in Brooklyn, New York to Nashville. From the people she met, like Dave Brainard (producer for Brandy Clark, and co-writer of a couple of songs on the album) and Rodney Clawson, to the musical atmosphere of the large number of songwriters performing around the city, Anne’s move to Nashville influenced her writing for her third album, Bright Lights and the Fame. Even though Nashville is home to Music Row and the trend chasing mainstream labels, Bright Lights and the Fame doesn’t waver from the musical foundation Michaela Anne has built with her first two albums. Michaela Anne is firm with her neo-traditional country-style, and balances the album nicely with upbeat, dancing songs and slower, more introspective songs.

A guitar riff capped with a ring from the steel guitar kick of the mid-tempo “Living Without You.” Michaela Anne sings about trying to move on by herself after the end of a relationship. While nothing special, “Living Without You” sets the tone nicely for the album, immediately grabbing your interest with the production, and Anne’s excellent vocal delivery. The theme of a break up continues with “If Only.” It’s a quieter song in both the melody and vocals. Anne takes her time allowing the lyrics to breathe and story build steadily, making “If Only” the longest song on the album at nearly six minutes. The tempo jumps back up with the album’s title track. Here, Anne sings from the point of view of a wife married to a music man whose first love will always be the bright lights and the fame. The song is without a doubt a country two-stepper with the steel guitar present throughout the melody. “Everything I Couldn’t Be” finds Michaela Anne reminiscing about a past relationship when she learns that her ex is about to get married. The ballad begins slow with an acoustic guitar and faint steel guitar ring. But as she continues to sing and remember, the melody grows and soars behind Anne’s higher register.

Michaela Anne writes and sings more personally with the quick number “Won’t Go Down.” The song deals with the moral and ethical lines that she won’t cross when it comes to relationships, or life in general. Coming from a military household, Anne says the song is more autobiographical as she recalls the times she walked that line growing up. “Worrying Mind” deals with anxious thoughts and second (sometimes third) guessing decisions. The verses are balanced nicely between Anne’s vocals and the musical production, but the chorus seems to be hindered by a loud, overproduced melody while Anne’s vocals remain at the same level throughout the song.

“Easier Than Leaving” is another ballad where Anne sings from the point of view from the woman in a bad relationship. Even with everything wrong in this relationship, this woman can’t get herself to leave and start fresh. The lighter, acoustic production is well done on this song, as Michaela Anne’s vocals inflect nicely, reaching the highest note she can comfortably sing. Americana star Rodney Crowell provides vocal harmonies on “Luisa.” Together, they sing about a hitchhiker out west who’s looking to get back to Sacramento. To be honest, if the title didn’t mention “(featuring Rodney Crowell)” it’d be hard to know it was his vocals on the track, and it would have been nice to hear him take a verse. The melody of “Luisa” is excellent country music with a great solo in the middle of the song.

“What Good Is Water” is a darker song with a heavier production compared to the rest of the album. The song deals with a woman whose life appears to be in shambles at the moment, but she promises she’ll turn it around. The lyrics use imagery like a cactus dying and leaky faucet to paint the run-down picture, and Anne’s vocals stretch beyond her apparent comfort zone, but it’s done well. For many good reasons, “What Good Is Water” stands out on the album. Michaela Anne admitted that she wanted a fun, two-stepping song on the album, and so she wrote “Liquor Up.” The quick number is full of steel guitar and fiddle, and it certainly is a song ready for dance floor. Bright Lights and the Fame comes to a close with “Stars.” The song’s melody is quiet and subdued as Anne sings of a loved one’s death. She doesn’t sing of a specific person, but looks at the death in a positive way, remembering the good times, seeing that person in the stars, and always carrying their memory with her. “Stars” is a good song to end the album with as it is well written and well sung.

Overall, Bright Lights and the Fame is a good album from Michaela Anne. Admittedly, I think the first half of the album gets repetitive with several of the songs dealing with broken relationships and broken hearts. Those songs don’t offer much that’s new or original to topic, no matter how well produced some of them may be. The second half of the album is much better, showcasing a good variety from Michaela Anne’s songwriting and vocals. I think Michaela Anne is a singer and songwriter who is worth listening to, and should benefit from the growth of Americana music. Bright Lights and the Fame shows her potential and proves that she’s dedicated to growing and improving.

Grade: 7/10

 

Album Review – Caleb Caudle’s ‘Carolina Ghost’

Caleb Caudle Carolina Ghost

Some of the best music you’ll hear sounds so easy. Yet the reality of great music is that it’s very difficult to make. Quality music takes time, sometimes years of hard work, sweat and determination. Making a great album is much more difficult than making a great song. But when you hear a great album, you’ll know it upon the first few songs. It has spark about it that captivates your mind and your heart. That’s what I felt when I heard Caleb Caudle’s brand new album Carolina Ghost. Hailing from Winston-Salem, North Carolina, Caudle had released six albums before Carolina Ghost. But none of them captured people’s attentions. So Caudle got sober, put his head down and went to work. This all led to the making of Carolina Ghost, an album produced by Caudle and Jon Ashley. And I assure you after listening to this album multiple times that Caleb Caudle is a name people won’t forget.

You get a taste of Caudle’s smooth vocals on “Gotta Be.” The love song really shows off the ability of Caudle to draw you in and want to hear more. This is pretty fitting for the first song on the album. Not to mention the soft pedal steel guitar throughout will lure in any country fan. “Piedmont Sky” is another easy-going love ballad. It’s about a man waiting summer after summer for a girl to “call his number.” The piano and steel guitar driven tune is the kind of song you can put on and enjoy upon the first listen. The album’s title track puts me in mind of an Eagles song. This is a good thing by the way. The reason I say it puts me in the mind of an Eagles song is because it has a relaxed, almost flawless like vibe about it from the instrumentation to the writing. It has a dreamy feel about it, putting the listener at ease as they listen to it.

The twangy “White Doves Wing” is one of my favorite tracks on Carolina Ghost. The song is about a man looking back on his life and realizing he hasn’t made the best decisions and has went over the line a few too many times. There’s times when he doesn’t even want to be around himself. But he’s come to accept that’s just who he is and he has to live with it. It’s a really well written, introspective song. “Uphill Battle” is a soft love ballad about a man reassuring his woman he’ll always be there for her. Whether she’s scared or unsure, he’ll be there. While on the surface this can sound cheesy, it actually comes off quite mature. It’s the kind of slow song I can see being played in a Texas dance hall. Heavy steel guitars permeate throughout “Borrowed Smiles.” The song is about a guy who always feels like a ghost at the bar, yet he always leaves before the party ends. While the world around him is celebrating and having a good time, he’s trapped in his own mind. It really paints a vivid picture in the listeners’ heads.

Caudle tackles winter blues with “Broken Hallelujah.” While the winter weather and sky brings him down, the presence of his love perks him right up and brightens his day. Once again there’s lots of steel guitar. If you love a lot of steel guitar in your country music, you’re going to love this album. The acoustic driven “Tuscaloosa” tells the story of a heartbroken man looking not to fix himself, but rather learn how to deal with his woman being gone. Every night he opens the window to hear rain just because he knows she would want him to do it. She set out on open road and he’s stuck wondering what happened. Caudle really nails the classic country heartbreak song.

Another standout on Carolina Ghost is undoubtedly “Wasted Thursday.” This two-stepping song is about a man who leaves his woman for the open road, leaving both lonely. He knows that the day he left was just “one long kiss goodbye” and wonders if she still thinks of me after he left. It’s a story of a man struggling with his love of being a rambling man and his woman back home, both pulling him in each direction. But ultimately the road wins his heart over. You could view it as a love song, but I see it more as a beautiful tragedy that is never-ending. “Steel & Stone” features Caudle’s best vocal performance on the album. That’s not to say his vocal performances on other songs aren’t good. They are quite good throughout. But this song on particular Caudle really sells the emotion of this love song, which goes perfectly with the production of it.

Carolina Ghost wraps up with “The Reddest Rose,” where Caudle ponders love he lost and how he’s coping with feeling normal again in the aftermath. He can’t believe she’s gone, but realizes she’s now just a song and no longer in his life. One saying she used to say he holds onto though is “the reddest rose just comes and goes.” It’s not just a reflection on their relationship, but on his life. “The Reddest Rose” is a soul-searching song that showcases the absolute talent of Caleb Caudle.

There’s no beating around the bush with this album: Caleb Caudle’s Carolina Ghost is a fantastic. It’s full of quality songwriting and you couldn’t make it more country if you tried. Caudle’s style and approach to music is very unassuming and allows the music to really reach out and grab the listener. The songwriting is beautifully uncomplicated and the instrumentation elevates it in every way. I think Carolina Ghost is an album every country fan needs to hear and Caleb Caudle is a star in the making. This is no frills, straight-forward, pure country goodness. Carolina Ghost is the real deal.

Grade: 9/10

Review – Jake Worthington’s Debut EP Proves He’s The Real Deal

Jake Worthington EP

When it has come to music competition shows like The Voice and American Idol, I’ve found myself becoming more jaded each year about them. The golden age in terms of success for these shows was in the days of Kelly Clarkson and Carrie Underwood, two of the biggest names to emerge from the music competition shows. Ever since there hasn’t been this level of star to emerge from the shows. Many of the winners and “big names” from the shows haven’t impressed me and have quite frankly been overrated. Then along came traditional country artist Jake Worthington in season six of The Voice in 2014. He went deep into the show and finished runner-up, all while singing songs from the likes of Waylon Jennings and Keith Whitley. I was intrigued and impressed by his performances, even some of the newer songs he sang (which didn’t seem to be entirely his choice). Worthington’s heart seemed to be with the traditional country though. I could sense it, so I was hopeful this would shine through whenever he would release his first original music. Now we find out with this self-titled debut EP. I can say without a doubt his traditional side shines through loud and clear in this EP.

The EP begins with Worthington singing of a honkytonk woman on “Don’t Let The Redneck (Fool Ya).” This woman is well versed on all of the tactics of prowling single men at the bar and isn’t easily taken off her feet. It’s an interesting song to hear coming from Worthington. It reminds me of something Brooks & Dunn would have recorded in the early 2000s with its rock country production. “Friends” is the type of song that suits Worthington very well. The song is about the value of friendships and how big of an impact they can make on your life. The song is very well written and most importantly comes off as sincere instead of corny, which can be a problem with a theme like this one. The production and instrumentation go great with Worthington’s vocals.

Love ballads are something that will suit Worthington well throughout his career and “That’s When” is a perfect example of why. The main hook of the song is how Worthington sings about how rivers running dry and clouds disappearing from the sky will be the day he stops loving his woman, which will be never of course. Worthington conveys the emotion of the song well and once again displays great sincerity in his performance. If he were looking to release a single to radio, this would be the first song I would send. “This Damn Memory” is the best song on the EP. The song is about how a man can’t shake the memory of the night he broke up with the woman he loved and how the silence now is just eating him up inside. This heartbreak ballad has everything you want in a country song from the sharp lyrics to the thick pedal steel guitar play. I can’t wait to hear more songs like this from Worthington. The EP closes with “Just Keep Falling In Love.” It’s a breezy, up beat love song that I’m sure many couples listening to it will enjoy and connect with. Once again it’s a solidly traditional country song that is arranged very well.

This EP demonstrates that Jake Worthington is sticking with a traditional sound and it’s a great sign to see. Worthington sounds like he came straight out of the neo-traditional era of country in the 80s with his Randy Travis-like voice. He’s a true country artist who understands what country music should sound like. This EP is a great starting point for his career and I look forward to hearing the first full-length album from him. Worthington is an artist country radio needs and with his very young age, he has the potential to have a long and meaningful career. Keep an eye on Jake Worthington.

Grade: 8.5/10

 

Album Review – Kacey Musgraves’ ‘Pageant Material’

Kacey Musgraves Pageant Material

To say Kacey Musgraves’ sophomore album was highly anticipated is an understatement. Musgraves burst onto the country music scene back in 2013 with her debut album Same Trailer, Different Park and became an instant critical darling with her more liberal attitude and themes. Musgraves numerous awards for the album, from the Grammys to the CMA Awards. In the process she also helped elevate her close friends, producer/songwriter Shane McAnally and singer/songwriter Brandy Clark, to new heights due to their heavy involvement in her debut album. I’m going to admit something I don’t think I’ve ever shared and that was my first impression of Musgraves back in the early summer of 2013. I had grown weary for years of new female country artists because most of them had model looks and sub par vocals. So I took one look at the album cover of Same Trailer, Different Park and made the assumption that this was just the case once again. As they say, you know what happens when you assume? It makes an ass out of you and me. Once I started hearing more talk about her and praise from music outlets, I decided to give her a listen. She proved me wrong and made me a fan.

Fast-forward up to 2015. Musgraves’ first single from her sophomore album underwhelmed me and on top of that there were murmurs that her second album would sound much like her first in terms of themes and lyrics. After all the same troika of Musgraves, Clark and McAnally were writing and producing this album too. This increasingly worried me and really made me dread the release of Pageant Material. I didn’t want Musgraves to have a big disappointment after making such a remarkable debut, especially since country radio has treated her so coldly. She’s brought so many outside names and outlets into the genre that would normally never touch it and I didn’t want to see her fail. So coming into listening to Pageant Material I was apprehensive and brought lowered expectations. I expected a step down. Instead I learned that I have to stop doubting Kacey Musgraves because once again she proves me wrong.

Pageant Material kicks off with “High Time,” a song with a breezy and carefree attitude. And really that’s what the song is about too. It’s about taking this attitude with life and trying to enjoy it as much as possible. I’m glad to hear Musgraves go into her higher register on this song and something I want to hear more from her. This is an easy-going song that’s easy to enjoy. The next song is “Dime Store Cowgirl.” It’s a self-reflection song for Musgraves, as she references moments throughout her life and career. Despite all of the fame and success, Musgraves says she is still a dime store cowgirl from Texas. This is a song that comes from Kacey’s heart and you can hear it in the song. I think it was a great choice to make this her next single to release to radio, as it’s down-to-earth vibe appeals to many listeners.

Once again we get to hear Musgraves go up into her higher register on “Late To The Party.” It’s a great vocal performance from Musgraves, as I felt like we didn’t hear enough of her voice on Same Trailer, Different Park. A softer approach suits her well. The lyrics are good, not great. The opening line about blowing up a phone is overdone and tiresome. The song also takes a little long to get around to its crux, but once it does I found myself enjoying the song. The album’s title track is about Musgraves growing up around pageants in the south and how young girls were always expected to be pageant girls. But as she explains, she just wasn’t pageant material. She couldn’t go up on-stage and fake a smile to win. As Musgraves says, “I would rather lose for what I am, than win for what I ain’t.” I feel like this is a subtle shot at country radio, as later in the album she takes a direct shot at it. It’s no secret she has struggled at country radio, but she doesn’t care and I don’t blame her one bit. This is one of the best songs on the album; as the instrumentation is decidedly country and the lyrics perfectly fit Kacey.

Musgraves sings about the small world of living in small towns in “This Town.” This feels like a less sinister version of “Merry Go ‘Round.” Both discuss how there are no secrets in small towns and how gossip can ruin a family name. This isn’t a bad song by any stretch, but it relies on a trope that Musgraves has covered enough now and needs to move on from. I could see this being a future single though, as “Merry Go ‘Round” was her most successful single at radio. This is followed by “Biscuits,” which I already reviewed. From my review: “I find the chorus line/hook of this song to be quiet hokey: “Mind your own biscuits and life will be gravy.” It just feels so cliché and easy. It feels like something I could have come up with and I’m by no means a songwriter. I think the biggest thing I took away after hearing this song was as soon as it ended I said to myself, “This is it?” I will add that I have warmed up to the song a little actually. For some reason I find it more appealing when listening to the album as a whole. I can’t explain why. It still makes me hungry for biscuits and gravy though.

“Somebody To Love” grapples with the questions and concerns we all face on a daily basis. The song’s message is that we all make mistakes and we all face questions, but in the end we’re all just looking for love. The album as a whole I’m more impressed with Kacey’s vocals this time around compared to Same Trailer, Different Park. This song best exemplifies this, as the instrumentation is light and Musgraves’ vocals are front and center. Again I think this softer arrangement and approach suits Kacey well. Musgraves sings about how negative attitudes will ultimately hold you back on “Miserable.” She sings about how some people are only happy when they and/or the people around them are miserable. I like to think Kacey’s feud with Bobby Bones was fresh in mind when this song was written. Doesn’t the person who’s miserable in the song put you in mind of Bones? Maybe that’s just me looking at something that isn’t there. Anyway once again I like how Musgraves’ voice is focal point.

As listeners have figured out about Musgraves by now, she can’t resist a little bit of corniness in her music and that’s evident in “Die Fun.” There’s no problem with this, as that’s just who Kacey is. It’s something that’s part of her and something that will be a part of her music as a result. I call the song a little corny because of this line in the chorus: “So let’s love hard, live fast, die fun.” It’s just an overused platitude. The song is okay, but the theme is just a little overdone for me. The upbeat and fun “Family Is Family” is next. This is probably the corniest and hokiest song Musgraves has put out, yet I love it. This is the type of song where the corniness works, as it fits well when singing about the concept of family. I feel like Kacey nails what a family is about. Sure you may not always get along with your family and they can be embarrassing, but they’re still your family and they will always be there for you. On top of that the combination of the acoustic guitar and pedal steel makes for a great country sound.

While I enjoy many songs on this album, the one that stands out the most and the one I’ll remember the most is “Good Ol’ Boys Club.” Musgraves blatantly and proudly calls out the sham that is the current structure in the country music industry. As she sings, it should be about good you are, not who you know. It’s the exact opposite right now. This comes out right after Grady Smith revealed on Twitter that he talked to a record executive who confirmed this is the case in country music. You hear that fans of Thomas Rhett and Cole Swindell? You hear this Keith Hill? On top of this Kacey says she doesn’t “lose any sleep” over not being apart of this club and if she goes down in smoke, she doesn’t care. Damn I love this attitude! It’s perfect. This is one of my favorite songs of the entire year.

“Cup of Tea” is a little slice of countrypolitan about how you can’t meet everyone’s standards, so be who you want to be. Once again Kacey goes back to a theme she’s leaned a lot on, which is the message of be who you want to be, damn what others think. It’s a good message, but something that Musgraves needs to move on from in the future. It’s an easygoing song most can enjoy though. The final song on the album is “Fine,” which is about a woman who tells everyone she’s fine, even though she knows it isn’t the case. The word “fine” is one of the most complicated words we use on a daily basis, as most of the time it’s just a shield to cover up our true feelings that are complex and hard to explain. Centering an entire song on this word was a brilliant move on Kacey’s part, as it leaves a lot of room for interpretation. It’s an intriguing listen.

Oh did I say “Fine” was the final song? That’s wrong, as a hidden bonus track “Are You Sure” is the true conclusion to the album. And it features Willie Nelson! Now this is a surprise. The duo sing about questioning who you surround yourself with in life and if you really want to be at this point in your life. I’ve always wanted to hear these two together on a song, as I felt their styles mesh well. They prove me right here and I would definitely like to hear more collaboration songs from them. Capping the album off with a surprise duet with Willie Nelson is one hell of a choice by Musgraves and I applaud her for it.

I was worried Pageant Material was going to be a step back for Kacey Musgraves, but instead it was a refreshing step forward for the most part. She only fell into a couple of her familiar tropes a few times and even then the songs weren’t bad. I believe Pageant Material is even better than Same Trailer, Different Park because this album was much more cohesive. It has a clearer direction and I feel like Musgraves found herself. Without a doubt you can hear more of Kacey in this album, from a vocal standpoint and lyrical standpoint. On top of that the instrumentation is even better and more country. This isn’t one of the best country albums of the year and not Kacey’s best album possible (I think she can be even better than this), but it may be the most important. The impact Kacey Musgraves has made on not just country music, but music in general is palpable and she’s one of the keys to putting the country sound back in country music. Pageant Material comes highly recommended from yours truly. Kacey Musgraves proves once again why so many people respect and love her music.

Grade: 9/10