Lady Gaga, Dolly Parton, and Kacey Musgraves are among the ist of top female artists who have donated their personal gear for a new auction benefitting the non-profit Girls Rock Camp Alliance, which supports more than 100 summer camp and music education programs around the world for female, transgender, and gender non-conforming youth.

The star-studded list also includes Paramore's Hayley Williams, Lydia Loveless, Marian Hill, Melissa Etheridge, Evanescence, Tal Wilkenfeld, Amanda Shires, Sharon Van Etten, Fergie, Mindi Abair, Charlie XCX, Reba McEntire, Imogen Heap, Against Me!'s Laura Jane Grace, and more.

Items up for the auction, which is hosted by the online marketplace Reverb, include microphones, guitar effects pedals, instruments, concert tickets, memorabilia, and more.

"My sister and I were very lucky to have inspiring resources at our fingertips and people championing us to find our passions very early in life. We need more perspectives of strong women living on through art and music, so I’m happy to support Girls Rock," said Musgraves, who is donating a mixer and an autographed plastic pink flamingo.

The auction launches on May 10 on Reverb's website.

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

"Genres are a funny little concept, aren't they? In theory, they have a simple definition that's easy to understand. But in practice, well, some may feel confined."

With those words, spoken on "SPAGHETTII" by Linda Martell — the first commercially successful Black female artist in country music and the first to play the Grand Ole Opry solo — Beyoncé provides a proxy response to her original call on Instagram 10 days before COWBOY CARTER was released: "This ain’t a Country album. This is a “Beyoncé” album." 

She delivered on that promise with intent. Through a mix of homage and innovation, Beyoncé's latest is a 27-track testament to her boundless musicality and draws  from a rich aural palette. In addition to its country leanings, COWBOY CARTER includes everything from the soulful depths of gospel to the intricate layers of opera. 

Beyoncé's stance is clear: she's not here to fit into a box. From the heartfelt tribute in "BLACKBIIRD" to the genre-blurring tracks like "YA YA," Beyoncé uses her platform to elevate the conversation around genre, culture, and history. She doesn't claim country music; she illuminates its roots and wings, celebrating the Black artists who've shaped its essence.

The collective album proves no genre was created or remains in isolation. It's a concept stoked in the words of the opening track, "AMERIICAN REQUIEM" when Beyonce reflects, "Nothing really ends / For things to stay the same they have to change again." For country, and all popular genres of music to exist they have to evolve. No sound ever stays the same.

COWBOY CARTER's narrative arc, from "AMERICAN REQUIEM" to "AMEN," is a journey through American music's heart and soul, paying tribute to its origins while charting a path forward. This album isn't just an exploration of musical heritage; it's an act of freedom and a declaration of the multifaceted influence of Black culture on American pop culture.

Here's a closer look at some of some of the musical genres touched on in act ii, the second release of an anticipated trilogy by Beyoncé, the most GRAMMY-winning artist of all-time: 

Country 

Before COWBOY CARTER was even released, Beyoncé sparked critical discussion over the role of herself and all Black artists in country music. Yet COWBOY CARTER doesn't stake a claim on country music. Rather, it spotlights the genre through collaborations with legends and modern icons, while championing the message that country music, like all popular American music and culture, has always been built on the labor and love of Black lives. 

It's a reckoning acknowledged not only by Beyoncé's personal connection to country music growing up in Texas, but the role Black artists have played in country music rooted in gospel, blues, and folk music. 

Country legends, Dolly Parton ("DOLLY P", "JOLENE," and "TYRANT"), Willie Nelson ("SMOKE HOUR" and "SMOKE HOUR II"), and Martell ("SPAGHETTII and "THE LINDA MARTELL SHOW") serve mainly as spoken-word collaborators, becoming MCs for Queen Bey. Some of the most prolific country music legends receiving her in a space where she has been made to feel unwelcome in music (most notably with the racism surrounding her 2016 CMA performance of "Daddy Lessons" with the Dixie Chicks) provides a prolific release of industry levies. Martell, a woman who trod the dark country road before Bey, finally getting her much-deserved dues appears as an almost pre-ordained and poetic act of justice. 

"BLACKBIIRD," a version of the Beatles' civil rights era song of encouragement and hope for the struggle of Black women is led softly by Beyoncé, backed by a quartet of Black female contemporary country songbirds: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts. 

Beyoncé holds space for others, using the power of her star to shine a light on those around her. These inclusions rebuke nay-sayers who quipped pre-release that she was stealing attention from other Black country artists. It also flies in the faces that shunned and discriminated against her, serving as an example of how to do better. The reality that Beyoncé wasn't stealing a spotlight, but building a stage for fellow artists, is a case study in how success for one begets success for others. 

Read more: 8 Country Crossover Artists You Should Know: Ray Charles, The Beastie Boys, Cyndi Lauper & More

Gospel, Blues, & Folk (American Roots)

As is Beyoncé's way, she mounts a case for country music with evidence to back up her testimony. She meanders a course through a sequence of styles that serve as the genre's foundation: gospel, blues, and folk music.

"AMERIICAN REQUIEM" and "AMEN" bookend the album with gospel-inspired lyrics and choir vocals. The opener sets up a reflective sermon buoyed by  the sounds of a reverberating church organ, while the closer, with its introspective lyrics, pleads for mercy and redemption. The main verse on "AMEN", "This house was built with blood and bone/ The statues they made were beautiful/ But they were lies of stone," is complemented by a blend of piano, and choral harmonies. 

Hymnal references are interlaced throughout the album, particularly in songs like "II HANDS II HEAVEN" and in the lyrical nuances on "JUST FOR FUN." In the later track, Beyoncé's voice soars with gratitude in a powerful delivery of the lines, "Time heals everything / I don't need anything / Hallelujah, I pray to her." 

The gospel-inspired, blues-based "16 CARRIAGES" reflects the rich history of country songs borrowing from the blues while simultaneously calling back to songs sung by field laborers in the colonial American South. "Sixteen dollars, workin' all day/ Ain't got time to waste, I got art to make" serves as the exhausted plea of an artist working tirelessly long hours in dedication to a better life. 

Rhiannon Giddens, a celebrated musician-scholar, two-time GRAMMY winner, and Pulitzer Prize recipient, infuses "TEXAS HOLD 'EM" with her profound understanding of American folk, country, and blues. She plays the viola and banjo, the latter tracing its origins to Sub-Saharan West Africa and the lutes of ancient Egypt. Through her skilled plucking and bending of the strings, Giddens bridges the rich musical heritage of Africa and the South with the soul of country, blues, and folk music.

Pop, Funk, Soul & Rock 'n' Roll 

All in, Beyoncé is a pop star who is wrestling with labels placed on her 27-year career in COWBOY CARTER. Fittingly, she brings in two other pop artists known for swimming in the brackish water between country and pop, Miley Cyrus and Post Malone. Her intentional inclusion of two artists who have blurred genres without much cross-examination begs the question, Why should Beyoncé's sound be segregated to a different realm? 

On "YA YA" Linda Martell returns as the listener's sonic sentinel, introducing the track like a lesson plan: "This particular tune stretches across a range of genres. And that’s what makes it a unique listening experience." The tune sinks into the strummed chords of Nancy Sinatra's "These Boots Are Made for Walkin'" before leaping into a fiery dance track that features reimagined lyrics from the Beach Boys, with soulful vocal flourishes and breaks that show the throughline connection between '60s era rock, funk, and pop music.

Robert Randolph lends his hands on "16 CARRIAGES" with a funk-infused grapple on his pedal-steel guitar. It's a style he honed through his early years touring and recording with his family band and later in his career as an in-demand collaborator working with names including the Allman Brothers, and Norah Jones. 

The lesson is solidified as the album transitions into an interlude on "OH LOUISIANA," featuring a sped-up sample of a classic track by Chuck Berry. This moment emphasizes the pop superstar's nod to civil rights era music history, spotlighting a controversial artist celebrated for his pioneering contributions to rock 'n' roll. (It's a part of music history Beyoncé knows well, after starring as Etta James in the 2008 film Cadillac Records, a veiled biopic of the legendary Chicago label Chess Records.)

Classical & Opera

Opera was missing from many listeners' Beyoncé Bingo card, but didn't surprise those that know her background. Beyoncé was trained for over a decade starting at an early age by her voice teacher David Lee Brewer, a retired opera singer who once lived with the Knowles family. 

COWBOY CARTER gives sing-along fans a 101 opera class with "DAUGHTER." In Italian, Beyoncé sings passages from the 1783 Italian opera "Caro Mio Ben," composed by Giuseppe Tommaso Giovanni Giordani. The aria is a classic piece of vocal training that fittingly shows off her full range — taking us back to the earliest days of her vocal teachings.

Hip-Hop & R&B

Midway through the album on "SPAGHETTII" Beyoncé announces, "I ain't no regular singer, now come get everythin' you came for," landing right where expectations have confined her: in the throes of a romping beat, experimenting with sounds that blend hip-hop with R&B and soul. The track notably highlights the talent of Nigerian American singer/rapper Shaboozey, who also shows up to the rodeo on "SWEET HONEY BUCKIN'" brandishing his unique mix of hip-hop, folk-pop, and country music. 

Beyoncé worked with longtime collaborator Raphael Saadiq on this album, a career legend in the R&B industry, who lends his mark to several tracks on which he wrote, produced, and played multiple instruments. Beyoncé also utilizes the Louisiana songwriter Willie Jones on "JUST FOR FUN," an artist who draws on a contemporary blend of country, Southern rap, and R&B in the hymnal ballad. 

The violin-heavy "TYRANT" and "SPAGHETTII" both underscore hip-hop's long love affair with the classical string instrument (See: Common's "Be," and Wu Tang Clan's "Reunited" as the tip of that particular iceberg) with a blend of soulful R&B lyrics paired with beat-based instrumentalization. 

In a world quick to draw lines and label sounds, Beyoncé's COWBOY CARTER stands as a vibrant mosaic of musical influence and innovation. Ultimately, Beyoncé's COWBOY CARTER isn't seeking anyone's acceptance. As a Texan once told she didn't belong, her critical response claps back at this exclusion.  It's also a reminder that in the hands of a true artist, music is limitless.

Run The World: Why Beyoncé Is One Of The Most Influential Women In Music History

Laura Jane Grace is on the precipice of a brand new life.

The Against Me! frontwoman just got married in a whirlwind, to comedian Paris Campbell. Her Jeep got sideswiped by a drunk driver; when we spoke, the pair were on an Amtrak from Chicago to St. Louis to pick it up from the mechanic. At press time, Grace and Campbell will soon drive it back to their new, shared home in Chicago: they've been handed the keys, and they're in the center of that maelstrom.

"We've moved Paris' apartment from New York to Chicago, and now we're moving my apartment to the house we got," Grace tells GRAMMY.com over the phone, sitting on the tracks with Campbell in Joliet, Illinois. "It's scientifically proven that moving is one of the most stressful things you can do in life.

"Just take my word for it," she quips, when asked if that's true. "Don't Google it."

Grace has done a lot of Googling as of late — to mixed results. Her latest solo album, Hole in My Head — helmed by Drive-By Trucker and Dexateen Matt Patton — dropped Feb. 16, and the press cycle rolls on.

Warm, lived-in and melodic songs like "Dysphoria Hoodie," "Birds Talk Too" and "Tacos and Toast" comprise a satisfying continuation of what Grace does best: yowly, heartfelt punk rock. But presenting them to the world has been challenging. Tidbits from the bio get blown out of proportion. Flat-out mischaracterizations make it to print, and stay there.

She's not bitter about any of it; she's mirthful. "I do think that, ultimately, [you shouldn't] read the reviews, and that you shouldn't live and die by what people say about the art you're making," she says. "But I would rather people are saying good things than bad things. I notice that people are saying good things."

They certainly are. Read on for an interview with Grace about the process behind Hole in My Head, parenting, espresso, Slash versus Izzy Stradlin, and much more.

This interview has been edited for clarity.

I'm sure you've talked about these songs to death. I want to talk about the — let's say indignities — of releasing a record. Like, "Hey guys, it's three weeks old! Do… you still like it?" as it recedes into the rearview.

Yeah. I was thinking that to myself last night, because I'm a little burnt out on social media at the moment. But I feel that pressure of like, Alright, you put out a record, you've got to promote on social media — you'd better make a post or else people are going to forget that literally last week you put out a record that you've been waiting a year to put out!

And it can be a little disheartening at times, for sure.

Psychologically, what's it like to read the reviews? It seems like the doomsday clock for digital media is at 11:59. Reviews used to make or break careers; these days, they seem to comprise an irrelevant sideshow.

It's strange, because I still think of reviews ultimately in the context of how I thought about them with zines. Oftentimes, you would look through zines and you would see the reviews, and that would be your clue and context of what was happening — other bands to tour with if they had a record coming out, or whatever. People that you'd reach out to.

I do think that, ultimately, [you shouldn't] read the reviews, and that you shouldn't live and die by what people say about the art you're making. But I would rather people are saying good things than bad things. I notice that people are saying good things.

And then also, as you said, I'm aware of the layoffs [in music journalism and digital media as a whole], and I'm aware that you've almost got to be thankful for [any press], as a whole community.

Part of my job is promoting those media outlets in a way, too. And that's just through literally just moving your thumb a couple of inches or whatever and pressing repost or retweet or whatever.

You had a funny tweet recently about how the reviews focus on the relative brevity of the songs, even though that's conventional on pop radio. Is that kind of thing somewhat bemusing — or frustrating?

I get frustrated with it, because the record took two years to write, and then it takes however long to record. But then, it all comes down to the bio. The bio is what all the journalists use as their touch points or talking points.

So, if you say the wrong thing in the bio, then everyone is asking those wrong questions for every interview. It's like that the whole time. It's almost like the bio makes or breaks your record.

And then, you're also tasked with trying to understand something that you just made; with a bio, that's oftentimes really hard to do. You're like, "I don't know, I just wrote it. I don't know what it means. I don't want to have to explain it," but then you got to explain it for the bio.

Without naming any names — and you can obscure the language if you like — what's an example of a wrong question you get asked?

The song length thing is one thing, but then the whole thing where people being like, "Oh, the record has a real '50s influence." It's like, "Shut the f— up. It just says that in the bio. Did you even listen to the record? Have you heard it?"

It just sounds like an Against Me! record. It's literally the same process that I've been doing for the past 25 years. I'm not writing songs any differently or approaching them any differently. I read one review that said that it had "handclaps and whoas, which are decidedly not punk." I'm like, What?

Outside of the press, where are we catching you in life, with Hole in My Head out in the world? You're on the precipice of a completely new epoch of existence.

That's what it is. Huge, massive changes happening in life. And that's the thing you don't want to happen in a way, with a record — where a year in between completing it and putting it out because you've got to pull yourself back to that place to even talk about it for interviews then, which can be hard sometimes.

I'm excited about songs that we recorded back in December and then excited about writing new music and just now having a record released holds you in place in that way. So, having it out is a good thing, and [being] free to move forward.

This is a cliché, but whatever: Hole in My Head sounds like a snapshot of where you are in the moment. Some records feel like promotional noise and don't tell me anything about the artist. Have you written in that slice-of-life, "Tacos and Toast" way before?

I think I was building towards that. I am happy with the way that song came out, but it took a lot of work to get to that kind of flow. But I think a song like "Shelter In Place," off of Stay Alive, was a precursor to that style, maybe.

Are you talking about honing your focus on syllables and stresses and stuff? Or themes?

More just relaxing into it.

Tell me more about that.

Like I said, the song "Shelter In Place" was a precursor to that song, because they both mention espresso. So, you're singing about your morning coffee, which to an 18-year-old punk kid probably seems really uninteresting. But when you're in your forties, you're like, Hell yeah. My morning cup of espresso — looking forward to that. I want to sing about that. I'm excited about that.

But I think it takes a nuance to be able to work that into a song. And I admire songwriters like John Prine or Dan Reeder, who were able to sing about their morning breakfast steaks and s— like that and make it good.

**I'm a huge John Prine fan. I don't sense he sat down and overworked anything. It all seemed as natural as breathing. So, it's almost like unlearning.**

Totally. That is what it is: natural as breathing, if you're writing about eggs, you're not trying, and it's coming off way better. And there we are with a Jonathan Richman reference: "They're not tryin' on the dance floor."

I'm not going to make you explain this song, because it's a song. But "I'm Not a Cop" touched a nerve in me, as per how we police each other day-to-day.

There's that, and then I think also it even relates to being a parent and realizing you don't have the authoritarian bone in your body and that that's not you, but I don't know. There might not be many things I'm confident about in life, but I'm definitely confident about that statement.

And, also the observation of seeing a cop at Superdawg eating a hot dog. It makes me smile every time I sing it.

Tell me more.

Literally, I drove by the Superdawg, which is a famous hot dog place in Chicago, and there was a cop in there eating a hot dog. It's f—ing hilarious.

Has parenting been a mind-bending, acid-like experience for you? Or did it all come naturally?

Yeah, mind-bending for sure. Last night, I got in a pseudo-argument with my kid, because they were criticizing me for only playing rhythm guitar that I never played solos. [Note: Grace's child uses they/them pronouns.]

They were specifically saying this because they're just a better guitar player than me already. And they really have focused on solos and doing really intricate guitar playing parts. I'm like, Goddamn, this is just surreal to have your kid digging into you about your guitar playing style. 

Basically, they're saying they're Slash, and you're Izzy Stradlin — suck it.

Are they hitting ultimate-guitar.com? What's going on?

They're rad. They're really, really, really good. I feel like they're seconds away from starting their own band.

What are their influences?

I gave them a Fleas and Lice record yesterday to listen to. They're really into punk, and really into odd stuff. At this point, I'm looking to them to see what's going on and what I should be listening to.

You mentioned that this is the process you've always abided by. But, can you talk about any special production flourishes here, or anything like that?

I was working with what I had. If I had had a drummer with me at the time, it would've been a  different record. But I didn't, so the drums came out the way they did.

I think the biggest addition and blessing with the record is Matt Patton. Him raising his hand and going to drive up to St. Louis — having never met me before — and spending a week in the studio. The parts he came up with are so rad; they make those songs. If it weren't for him, it would've been an entirely different record.

One thing I don't like to do when finishing a record, is listen to it comparatively to the record before it. Even sonically, I want to be surprised by it down the road.

Is making a record almost an uncomfortable experience, where you don't want to look at it too long? Is it like staring into the sun?

Yeah. That's ill-advised. I was actually thinking about that earlier. We were driving down and the sun was coming up and I was staring at it and I was like, Don't look into the sun you fucking idiot."

I think the uncomfortable part of the experience is the necessary part of the experience, and you have to push through the uncomfortable to get to the comfortable part — to know that you've got a good record.

Decoration Day At 20: How Drive-By Truckers Dialed Back The Satire And Opened Their Hearts

Reba McEntire opened Super Bowl LVIII by performing “The Star-Spangled Banner” ahead of the kickoff between the Kansas City Chiefs and San Francisco 49ers.

Backed by the Joint Armed Forces Color Guard with drummers from the United States Navy Band, the queen of country delivered a faithful rendition of the national anthem as she sang, “O say can you see by the dawn’s early light / What so proudly we hailed at the twilight’s last gleaming / Whose broad stripes and bright stars through the perilous fight / O’er the ramparts we watched were so gallantly streaming?”

Meanwhile, actor Daniel Durant served as this year’s official interpreter, translating the lyrics into American Sign Language as the superstar sang and a massive American flag was unfurled on the field of Las Vegas’ Allegiant Stadium.

McEntire opened up about the opportunity to perform the anthem on the biggest stage in sports just days before the game. “I am honored beyond words to be chosen to get to sing it,” the three-time GRAMMY winner shared during Apple Music’s pre-game press conference. “It means that I get to sing a very special song for all Americans, people all around the world, who have really worked so hard for our freedom and to give us peace…It’s not about me.

For last year’s big game, Chris Stapleton turned the national anthem into a gruff, gutsy ballad — accompanying himself on the electric guitar while Troy Kotsur (Durant’s Oscar-winning co-star in the 2021 drama CODA) translated the performance into ASL.

Other artists who’ve had the distinction of singing the national anthem at the Super Bowl include Mickey Guyton, Eric Church and Jazmine Sullivan, P!nk, Demi Lovato, Kelly Clarkson, Christina Aguilera and more.

Likely the most famous rendition of the song, however, remains Whitney Houston’s performance at Super Bowl XXV, which became a top 20 hit on the Billboard Hot 100 in 1991 and peaked even higher at No. 6 when it was re-released a decade later. 

Post Malone Goes Country for “America The Beautiful” at Super Bowl LVIII

A new Kacey Musgraves era is upon us! The country superstar teased the news with a cryptic social media post on Feb. 4: "I'm saying goodbye to the people that I feel are real good at wasting my time," she wrote in the caption. "No regrets, baby, I just think that maybe you go your way and I'll go mine."

That teaser coincided with a historic win at the 2024 GRAMMY Awards. The seven-time GRAMMY winner took home the golden gramophone for Best Country Duo/Group Performance for "I Remember Everything," her 2023 collab with Zach Bryan; with that victory, she became the first artist to win in all four Country Field Categories. (She won Best Country Album and Best Country Song in 2014 and 2019 — for Same Trailer Different Park and "Merry Go Round," and Golden Hour and "Space Cowboy," respectively — and "Space Cowboy" also took home Best Country Solo Performance in 2019.)

Fresh off that achievement, Musgraves announced her forthcoming album, Deeper Well,and shared its folksy, introspective title track. As fans eagerly await its release, GRAMMY.com has rounded up everything to be found about the singer/songwriter's fifth studio set so far.

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A post shared by Kacey Mossgraves (@spaceykacey)

The Album Drops Sooner Than You Think

We're quickly coming up on three years since Musgraves released her fourth full-length, star-crossed, and suddenly, the release of Deeper Well is just around the corner. Just a few days after her GRAMMYs teaser, the country star revealed that her sixth album will be released in just a matter of weeks.

"My new album, Deeper Well, is arriving March 15th," Musgraves wrote on social media. "It's a collection of songs I hold very dear to my heart. I hope it makes a home in all of your hearts, too."

There Are Two Different Covers

In her social post, Musgraves shared that Deeper Well will have not one, but two different covers — both shot by the singer's younger sister Kelly. 

The standard cover features the superstar gazing wistfully into the camera as she cradles a crimson clover in her hand. The limited edition cover is more evocative (and NSFW), with Musgraves laying nude, curled up in a verdant field with her back turned to the camera.

The Lead Single Is Also the Title Track

Ahead of the album's full unveiling, Musgraves dropped "Deeper Well" as its lead single. The gentle, finger-plucked track finds the singer/songwriter outgrowing relationships and choices that no longer serve her, blazing a new trail for herself and finding peace in the process: "I just think that maybe/ It's natural when things lose their shine/ So other things can glow," she sings.

"Sometimes you reach a crossroads. Winds change direction. What you once felt drawn to doesn't hold the same allure," Musgraves dished in a statement about the song's themes. "You get blown off course but eventually find your footing and forage for new inspiration, new insight and deeper love somewhere else."

She's Serving Cottagecore Space Witch In The First Music Video

Along with the song and album announcement, Musgraves shared the "Deeper Well" music video on Thursday — and the cinematic visual is a trip. 

Helmed by A-list director Hannah Lux Davis and shot in Iceland, the clip finds the singer holed up in a picturesque cabin and wandering a stunning coastline strewn with giant, levitating boulders. 

The costuming, meanwhile, leans more "homestead chic" as Musgraves rocks patchwork pioneer dresses, work bandanas and a cozily oversized shearling coat as she tends to a menagerie of farm animals, hangs laundry, gathers crops and, oh yeah, gets swallowed up by a magical, glowing orb by the video's end. 

From the looks of Musgraves' Instagram — and her newly minted profile name, Kacey Mossgraves — it seems the farmcore aesthetic might ring throughout Deeper Well.

The Album Will Showcase The Singer's "Softer Side"

Musgraves teased the creative direction of Deeper Well in a new interview with Zane Lowe on Apple Music 1. "I've found more of a connection to my softer side, my roots, like some of the Americana, the folk, the country, some of the stuff, really the warmth of that. I felt drawn to that. 

"I felt like I was in a softer place myself after star-crossed and going through a divorce and doing a lot of therapy and honestly falling in love again and opening myself back up to the human experience," she continued. "These songs just kind of started coming out."

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She's Releasing A Coffee Table Book

For another way to experience Musgraves' Deeper Well era, the singer/songwriter whipped up an 84-page 'zine with photos, lyrics, and stories behind the songs. Fans can purchase the soft-cover book — which comes with a CD — on her website, or at Barnes & Noble and indie record stores.

As Musgraves' punny Instagram caption notes, the book is another indication that she's "onto the next chapter (literally)."

The Track List Is Already Here

Musgraves is no stranger to delivering bodies of work upwards of a dozen-plus songs, and it looks like Deeper Well will be no exception. The 14-song track list was unveiled on Instagram, with song titles like "Giver / Taker" and "Jade Green" fitting both the theme of letting go as well as the cottagecore aesthetic seamlessly.

She's Working with Some Familiar Collaborators

According to her announcement, Deeper Well was co-produced by Ian Fitchuk and Daniel Tashian, both of whom worked with Musgraves on 2018's Golden Hour — which won Album Of The Year at the 61st GRAMMY Awards — and 2021's star-crossed. If those albums are any indication, Deeper Well is bound to be another Kacey masterpiece.

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