Kacey Musgraves last toured the UK in 2018 when promoting the GOLDEN HOUR record. Much has happened in the intervening period including the release of two albums taking the quota up to six (including the Christmas effort!) since breaking into the big time with SAME TRAILER DIFFERENT PARK in 2013. Evolution defines the progression of an artist flickering on the border between country and pop. Each record sparks debate on the fringes, while shoring up a fanbase fully behind their hero's directional whims. 2024 sees Musgraves in a good place, comfortable with an album reflecting a clearer state of mind and strutting a stage with assured confidence and wit.
New horizons on the touring landscape have emerged with Wolverhampton muscling in on nearby Birmingham's monopoly of mid-sized gigs over the last few years. Marketing calls this venue The Halls, enhanced local knowledge will always address it as the Civic Hall. Either way a lengthy yet impressive revamping means more near-sold out nights like this are required to recoup the investment.
The run up to this penultimate venue of the UK leg of the DEEPER WELL World Tour proved interesting. Heavily discounted stalls tickets were easily available on reputable sites, yet there was barely a space to move on a packed floor. Without insight, it is difficult to say whether losses were incurred or a question mark against ticketing prices. The upside was £31.50 resale all in, a third down from booking the same ticket on release day. Food for thought, and ultimately more palatable.
Madi Diaz was invited to open the UK shows and this fellow US singer-songwriter felt at ease sharing stories to fresh ears. The half hour set fell into two parts. The opening segment was delivered via an ineffective and overpowering electric guitar with lyrics suggesting a lack of maturity in getting the message over. When switching to acoustic for the final couple of numbers, the sound was richer accommodating songs with a greater credence and reach. A mixed bag from a performer with a lot to offer.
This was the fifth time watching Kacey Musgraves play live. Manchester 2014 (Country and Western Revue), Royal Albert Hall 2015, Country to Country 2016 (super Sunday with Eric Church, Chris Stapleton and Andrew Combs) and Birmingham 2018. The first the most eye opening; the latter the most reassuring. Wolverhampton 2024 felt like a crossroads.
A stripped down 'Follow Your Arrow', now an acoustic mid-set number, is the sole survivor from the first two studio albums. Fully expected from an artist's desire to reflect their current zone and sole retro shows can be stale without improvise. There has been a sea change in style over the decade and this was overtly reflected in the live experience between 2018 and 2024.
Contentment replaced sparkle in the band. The current eight-piece line up was well stocked including Sarah Buxton on backing vocals. Guitars, banjo and keys plugged away. Pedal steel remains prevalent even as the country feel fades with lack a zip and distinctive twang. Sometimes on a big stage you want the band to spark the star.
With 95% of the setlist coming from the three most recent records, hope more than expectation led the way. In contrast to the adorable SAME TRAILER DIFFERENT PARK (2013) and PAGEANT MATERIAL (2015), GOLDEN HOUR (2018) required diligent scanning to hive off the gems. The post-lockdown STAR-CROSSED (2021) flickered without sustenance leaving DEEPER WELL (2024) to shape the present. This latest record has found a cherished personal listening place, but evidence points to not yet making a significant move from studio to stage.
Song highlights from the hour and three-quarter long set were 'The Architect', 'Deeper Well', 'Rainbow', 'Slow Burn' and 'Follow Your Arrow'. Covers were kept to a bare minimum. Zach Bryan's 'I Remember Everything' was a shoe-in given Musgrave's presence on the hit, while 'Three Little Birds' was a telegraphed formulaic closer.
The abiding summary from this gig is an assessment to whether a hugely enjoyable and committed Kacey Musgraves gig quest has come to an end. Belief in the artist securely remains, but the present somewhat clouds the vibrancy and freshness of some truly memorable nights. Time will likely delay a decision if ever needed. Perhaps the live music heart lies in a place of greater connection. That certainly wasn't The Halls on this Monday night. Ultimately, it is healthy that being a fan is conditional.
