Album Review – Miranda Lambert’s “Postcards from Texas”


They say that well-behaved women seldom make history. Let’s just say that Miranda Lambert has made quite a bit of history during her country music career. The opening song from her new album Postcards From Texas is about a doobie-rolling armadillo who hijacks her at gunpoint and demands she run from the cops. Or at least, this is the story presented as an alibi to explain where she was the previous night, with the inference being that the real reason is probably even more nefarious.

You won’t find many mainstream country music albums that start off similarly, but this isn’t your typical mainstream country music album. This is one of those albums that comes at a point in an artist’s career when they know big radio play is beyond their reach, the award shows have begun to move on, and it’s time to stop giving a shit—or to put it more aptly—to start giving a shit about the most important things.

For Miranda, this means heading back to her home state of Texas, saddling up with good friend and frequent co-writer Jon Randall as producer, and posting up at Austin’s legendary but comparatively quaint Arlyn Studios to make the album she wanted to make as opposed to an album to meet the expectations of anyone else. Not that Miranda has been a pawn at any point in her career. But her priorities have shifted for sure.

Postcards from Texas is still a Miranda Lambert record. It’s certainly more country than anything she’s done in years, but it’s not especially twangy aside from a few songs. She still displays plenty of the attitude that is her signature. “Wranglers” finds her lighting stuff on fire again, and the playful “Alimony” makes a play on words with The Alamo, reminding you of some of the sass of early Pistol Annies. “Dammit Randy” has that kind of immediate resonance that makes you think it could graduate to a country classic in a few short years.


But maybe some of the best moments of Postcards From Texas are when Miranda Lambert shows a bit more vulnerability, which is something she’s resisted at times in her career. The solo-written “Run” is arguably the best-written song on the album, and isn’t this how it always goes on these big mainstream releases? Here it’s Miranda Lambert pointing the ugly finger of blame on herself, and it’s hard to not wonder if this wasn’t written about her history with Blake Shelton (or Anderson East).

“Santa Fe” and “January Heart” give the album some sincere and tender moments in between the sass and frivolity. Great songwriters like Dean Dillon and Brent Cobb help bring these songs to life. There is a lot of texture and variety in this album. It doesn’t especially “sound” like Texas, but multiple songs are centered in the state. “Looking Back on Luckenbach” would have been better if it didn’t feel a little too “on the nose,” and wasn’t done before by Whitney Rose in 2017.

But one of the bigger issues with Postcards from Texas is the same issue that has persisted throughout Miranda Lambert’s career. She doesn’t really have a signature sound that she’s laid down into. She’s veered from country pop to slightly more traditional in a way that borrows more than leads. Her value of top-tier songwriters and songs has never wavered, but there is commonly at least some commercial calculation in what she chooses to record.

Postcards from Texas does find Miranda Lambert expanding her sound profile a bit, especially on the last couple of songs. Her cover of David Allan Coe’s “Living On The Run” is lights out, and reminds you a little bit of Little Feet. “Wildfire” written with Jack Ingram and Jon Randall might find the greatest country vibe on the record.

But we also know that Miranda Lambert is not a traditional country artist and never has presented herself as one. She’s Miranda Lambert. And the argument can be made that Postcards from Texas is the most Miranda Lambert album that she’s made in years, swear words and all. This is who she is. And whether you find joy in the album throughout, or in fleeting moments relegated to certain songs, it feels right to celebrate Miranda Lambert being herself.

1 3/4 Guns Up (7.8/10)

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