Miranda Lambert often refers to the persona showcased in her 2005 debut album, "Kerosene," as "baby me." Back then, she was like an artistic toddler with a penchant for fire. This initial spark from her well-crafted first release under Sony Nashville ignited Lambert’s transformation into not only a leader for women in country music—a role particularly significant following the Dixie Chicks' controversy—but also into one of the most influential figures in the entire genre. Much of this impact can be traced back to her early work, notably highlighted in the breakout hit that gave the album its name, along with softer tracks around it that demonstrated her versatility.
Now that the "Kerosene" album has finally moved from the backburner (pardon the pun), Sony is set to release it in two different formats. Surprisingly, this record has not been available on vinyl until now, so they are addressing this gap by issuing a vinyledition of it. The LP version will be released on April 25. Digitally, the album is now available and supported by additional elements. previously unheard outtake titled "I Don't Love Here Anymore." (Check out the newly released bonus track, below.)
Lambert has been quite busy in her career recently beyond just reminiscing. Last year, she signed with the Republic label and released her inaugural album under this banner titled "Postcards From Texas." However, she was pleased to discuss these developments. Pawonation.com regarding her joy in commemorating the 20th anniversary of the album that first got her onto the dance floor.
Many artists look back on their first album with a sense of embarrassment over certain aspects. Some wish they could make changes, while others faced pressures from their record label regarding various issues. Discovering your identity as an artist during that time can be challenging for anyone.
Sure thing. When I found out we'd be revisiting "Kerosene," I gave it another spin, thinking to myself, yes, I’m really proud of what we created here. Proud not just of the end result but also how far I’ve come along. My hope is that sharing this will inspire upcoming musicians to produce something they’d proudly present to their idols—that’s always been my benchmark. Even now, I believe handing over this album to someone as respected as George Strait wouldn’t disappoint me at all.
The digital edition of the reissue includes this additional never-before-released bonus track titled "I Don't Love Here Any More." Was it originally recorded during those same sessions?
This is a fresh recording taken directly from those sessions. Honestly, I had completely forgotten about it until Marion (Kraft, my longtime manager) started considering ideas for celebrating the 20th anniversary. She stumbled upon this piece and retrieved it from the vaults. I’m genuinely thrilled; hearing it again brings back memories as it feels like listening to younger me. The song has a touch of vulnerability due to how ancient it seems now. Nonetheless, since I composed it myself, I feel both pride and excitement at sharing it with everyone.
Is owning a vinyl version important to you? Different folks feel differently about this; some really value it, others not so much.
I’m genuinely thrilled about this. It’s great to see that people are passionate about vinyl at present, and I’m delighted that children are taking an interest in it once more since collecting records is truly awesome. Having grown up before this trend took off, I feel incredibly grateful for being able to experience it now.
It’s amusing how you refer to the period in the '90s and early 2000s as "old-school," considering that during those times, vinyl was thought of as an obsolete medium and few new albums came out on LP records. Vinyl essentially bypassed several generations, so people from your cohort likely didn’t encounter it much growing up unless they had it at home through their parents’ collections.
Sure, I didn’t have them. My collection consisted solely of CDs. Before that, though, I was into cassettes and eventually transitioned to CDs. However, my dad has gradually passed down his vinyl records to me, which has been quite an interesting journey going right back to where it started.
Is the 20 th Was the anniversary of your major-label debut something you've given considerable thought to as it neared?
Sort of. I’ve mentioned this before, but some days it feels like I’ve been at it for 200 days, and other days it seems more like 200 years—it varies. Yet despite these ups and downs, I still enjoy every bit of it, particularly “Kerosene,” which has prepared me well for the next twenty years in music.
It’s amusing because I don’t perceive myself as having altered too much over time. Recently, my crew unearthed old recordings—interviews, performances—from earlier periods, and looking back brings laughter. The young version of me seen then might seem inexperienced compared to today, yet she retains that spirited essence unchanged. While aspects such as songwriting skills and artistic expression have matured with age, along with personal growth into womanhood, the core passion within remains undiminished since day one.
I attribute part of this continuity to my initial experiences playing in honky-tonks across Texas; they played a crucial role in shaping my identity as an artist. Those formative moments allowed me to discover self through practice before facing fresh challenges upon arriving in Nashville. They provided stability amidst uncertainty, ensuring clarity about voice and convictions moving forward.
Throughout my whole career, I’ve always approached things that way. Looking back now, maybe I started off a bit aggressively. Being young and unyielding, I thought, “If this fails, I’ll head back to Texas.” I didn’t want to alter myself for anybody; I simply presented who I truly was. Reflecting on those times, I realize how courageous—or perhaps stubborn—that stance might have seemed—but also somewhat lacking finesse. However, at the time, I held firm beliefs regarding both my actions and public persona. It’s heartening knowing I still retain many loyal followers from day one, even introducing their daughters to my performances and letting them grow up listening to two-decades-old tracks of mine. Truly grateful that these songs managed to endure through all these years.
Is there a particular sleeper hit from the "Kerosene" album that you enjoy?
I believe 'Love Is Looking for You' is likely one of my top favorites.
The album failed to generate massive hits initially. "Me and CharlieTalking" served as the lead single but did not make much impact; however, it helped establish you as a reputable artist. The title track eventually becameone of your most enduring songs, reaching number 15—a respectable breakthroughfor you at that time.
I didn’t have a top five until “Revolution,” my third album, so it certainly took some time.
When you began at Sony, you collaborated with Tracy Gershon as your A&R, which meant you had powerful supporters.
Tracy and John Grady, who was then the head of Sony Nashville, would tell me, “Just create the album you’re passionate about; that’s what signing with us means.” I’m incredibly grateful for their support since things often turn out differently, unfortunately for many others too. They expressed confidence in my judgment when they told me, “Trust your instincts,” and I approached them stating firmly, “Frank Liddell should produce this record—I believe he’s perfect for it.” This decision proved beneficial for me. That backing from the label—giving me permission to move forward without reservations—was truly remarkable.
People used to inquire, “Are you going to be the next Dixie Chicks? Or perhaps the following LeAnn Rimes?” My standard response was typically, “I’m the inaugural Miranda Lambert,” as I aimed to establish an identity distinctively my own. This approach helped me navigate these past two decades successfully. Now, embarking on a fresh chapter with a new recording contract feels fantastic. Despite all changes, staying true to oneself remains key in this industry. Authenticity is something I deeply admire in artists; it’s likely why I’ve managed to sustain such longevity here.
Certainly, you switched over to Republic Records last year. Are you at ease collaborating with your former label for this special release?
I agree. Over two decades, I spent my entire musical journey at Sony, building strong connections within the company. They've supported me tremendously throughout the years, which makes their collaboration on this project significant. It’s not something I take casually since they’ve played such an integral role in shaping my narrative.
This summer, you're performing at stadiums alongside Morgan Wallen. In the realm of country music, it seems that big-name artists usually prefer joining someone else’s stadium tour as supporting acts rather than headlining their own events. This trend appears even more pronounced when established performers such as Brooks and Dunn join his tour. Does this arrangement hold particular allure for you?
Sure thing! You understand, right? This entire setup feels enormous—especially when we're talking about an emerging talent from a different era like Morgan. There’s something entirely fresh here, both in terms of dynamics and reaching audiences who might not have experienced our work yet, which really excites me. Think about it: “Bring it on; let's hit them up and showcase what our generation stands for.” Another aspect I’m loving is wrapping things up around 8:30 PM so I can kick back and enjoy watching the performance. Having played countless gigs over the years, there comes a point where performing too late gets tiring. But this will be fantastic. Plus, I genuinely believe in Morgan’s artistry—I love his music—and since we’ve co-written several tracks together, everything aligns perfectly. He has always shown genuine respect towards my professional journey, and now seems ideal to introduce him to my fan base. Simultaneously, those attending through curiosity about me could discover more about him as well—it’s win-win.
On an entirely different subject: We just found out about a major Miranda-themed drag event scheduled in Austin soon.
I’m really enthusiastic about this event; it’s going to be a grand showcase for every song from our repertoire performed by all those fabulous drag queens. What excites me the most is simply getting to attend and enjoy myself without having to contribute anything. Over the years, I’ve had the privilege of being associated with the vibrant drag scene through my spirited tracks, which fills me with immense joy. This makes me particularly happy as I’ll get an intimate look at everything firsthand. My sibling along with their spouse and all our mutual buddies who live here in Austin will also be present, making it even more special for me.
It wasn't common knowledge that you're a drag icon, but with all the Dolly-inspired looks and even some inspired by Shania, it definitely makes sense that there would also be a style influenced by Miranda.
If you consider the names you just listed, once you enter that realm, you become somewhat of a single-name celebrity. Think about Dolly and Shania, Reba, Cher, and Mariah; they’re instantly recognizable with just their first names. It’s tempting—signing myself up for such instant recognition sounds great!
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- Morgan Wallen Announces 'I'm the Problem' Summer Stadium Tour, Titled After His Upcoming Fourth Album
- Miranda Lambert Discusses Marking Twenty Years in the Industry, Switching Record Labels, Reaching 40, and Sharing 'Postcards From Texas': 'The Flame Burns Brighter Than Ever'
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