Kacey Musgraves’ seventh album feels like a sigh of relief. Since 2018’s prismatic country-pop marvel Golden Hour, the Texan has struggled to maintain a foothold in pop: 2021’s Star-Crossed wed overly high-concept breakup songs to indistinct music; 2024’s Deeper Well was a weak latte of coffee-shop folksiness and impersonal therapy speak. Middle of Nowhere sacks off all the pageantry. Subtly arranged, tinged with western swing and traditional Mexican music, the low-key sound gets back to Musgraves’ rural roots and makes a smart backdrop to these beautifully weary songs about reckoning with delusion: on the title track, Musgraves sounds gorgeously like Aimee Mann, master of the subject.

But her hooks still hit. The warm, sparky I Believe in Ghosts feels made for tired stoics to kick it together on a dusty dancefloor; femcel anthem Dry Spell pairs an unwavering rhythmic canter with a thousand-yard stare as Musgraves rues “I’m so lonely with a capital H” – she means horny, a line that doesn’t work until you figure: maybe it’s been so long she can’t even remember the word. And the spartan arrangements let more of Musgraves’ conversational wit and side-eye shine through. The hopeful romance of Back on the Wagon, where a woman swears her busted man has changed, and the sweet pedal steel breeze of Loneliest Girl, where another insists she’s happy alone, are two sides of the same tenderly flipped coin : how many ways do we have to kid ourselves to get by? Horses and Divorces is country’s Girl, So Confusing: a reconciliatory – but raucous – duet with old foe Miranda Lambert that resounds with the lightness of letting go.