“I’ll be in the middle of an argument and somebody’ll say something, and I’ll be like, ‘Damn, that’s a good line. “I felt, in many ways, on top of the world in my career, but in my personal life, I felt like I was dying inside. And you can’t really experience the beautiful parts of life without also experiencing the absolutely heart-wrenching.” “Being a human is tragic, but it’s also beautiful. Those things will carry on forever, as long as humans are living, breathing, crying, loving, dying, fighting, all of that,” she says. They’re just wrapped up in a different way. But it’s themes that we’re still familiar with today. It’s still pretty heady, the ‘old English’ and all that. “At the time, I didn’t quite understand it. When she was doing Shakespeare in high school, Musgraves would dissolve in fits of giggles. And I was like, ‘Whoa, what if the album was formulated like a modern Shakespearean or Greek tragedy?’ ” “The word tragedy just popped into my mind. She was lying on her bed, journaling and listening to Bach. “Then whenever I zoom in to my own personal life, I also experienced tragedy, but in a completely different, personal way.” The album’s three-act structure came to her a few days before recording. “I think when you look at the whole last year, or last four years, here in America, you could say that on many fronts it was a tragedy,” she says.
#Kacey musgraves songs free
“I’m constantly torn between free will and fate,” Musgraves says of her conception of the world, and for her, the genre has resonated in ways both personal and political. The horrifying inevitability of loss that has marked this time feels well within the realm of tragedy-we’re all spectators, numbly watching things unfurl, feeling largely powerless. “I am so repelled by the artificial, the chatter, the pressures of society. “Less time for bullshit” was a major revelation she came away with. She tells me about the psilocybin-induced vision she had of her nine-year-old self-not coincidentally, that was around the age when she began performing music in public-and the compassion she felt for young Kacey. I’d venture to say that Musgraves has type A tendencies rolled into a type B personality, based on the fact that she used a Johns Hopkins–created playlist made for the purpose, unwilling to completely surrender control of the aux cord even while tripping. At the beginning of this year, she decided to lean all the way into the loss of control she was feeling and take a guided mushroom trip. Zooming with her feels like FaceTiming with a friend-such is the brand of intimacy she radiates. Musgraves is lying in bed, wearing the kind of waffle-weave robe you associate with fancy hotels, her hair long and loose, her nose ring glinting every so often as she turns, her long gray nails punctuating every gesture. After about 30 seconds of sitting in the audience dumbfoundedly mouthing “What?” she took the stage, wearing bright-red Valentino ruffles, and thanked her husband, fellow singer-songwriter Ruston Kelly, saying, “This album wouldn’t have been created without you.” Now, she says ruefully, “If you would’ve told me the night of the Grammys, ‘Hey, in two years, you’re going to be divorced and have a whole ’nother album written,’ I would have been like, ‘Fuck off. She describes the moment when she felt “on top of the world” in 2019, when her record Golden Hour was named Album of the Year at the Grammys.
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