Miranda Lambert Marks 'Kerosene' Anniversary with Vinyl Release and New unreleased Track: "Same Fiery Spirit, Evolved"

Miranda Lambert often refers to the younger self showcased on her 2005 debut album, "Kerosene," as "baby me." Back then, she had the fiery spirit of a young artist. That initial release under Sony Nashville ignited a firestorm that transformed her from merely being a prominent voice for women in country music during a pivotal time following the Dixie Chicks' controversy, into one of the most influential figures in the entire genre. This transformative power was evident right from the start with her breakout hit—the titular track—and continued through the softer, more introspective tunes surrounding it.

Now that the "Kerosene" album has finally moved from the back burner (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 reissuing it accordingly. 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, listed below.)

Recently, Lambert has been quite busy in her career 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 gladly agreed to discuss these developments. 5.180.24.3 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 alter parts of it, while others faced pressures from their record labels regarding various elements. Discovering your identity as an artist during that stage of life can be challenging for anyone.

Sure, it definitely is. When I found out we'd be revisiting "Kerosene" for this project, I gave it another listen and thought, yes, I’m really proud of what I created here. Proud not just of the final product but also how far I’ve come since then. My aim now is to share these feelings with others because I’d love to inspire upcoming musicians—make something so impressive that you can confidently present it to someone you admire greatly. For me personally, even today, I believe handing over this album to an icon like George Strait wouldn’t disappoint; I stand behind it wholeheartedly.

The digital edition of the reissue includes this additional never-before-released bonus track titled "I Don't Love Her Any More." Was this originally recorded during those same sessions?

This is a fresh recording from those sessions, which honestly I had completely forgotten existed until now. Marion (Kraft, my longtime manager), however, was considering ideas for celebrating our project’s 20-year milestone when she stumbled upon this piece and retrieved it from the vaults. I’m truly delighted; hearing it again brings back memories as it feels like listening to younger self. The song has a touch of vulnerability due to its age since I composed it so early in my career. Nevertheless, being both the writer and eager to share it with everyone makes me feel incredibly proud and thrilled.

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 people are passionate about vinyl at present, and I’m delighted that youngsters are embracing it once more since it’s truly an awesome item to amass. Having grown up in the earlier era when it wasn’t quite the trend, I feel incredibly grateful for having had the opportunity to experience it.

It’s amusing how you refer to the period in the '90s and 2000s as "old-school," considering that during those years, vinyl was seen as an obsolete medium and few albums were released on LP. Vinyl seemed to skip several generations, so people from your cohort likely didn’t encounter it growing up unless they had access through their parents’ records.

Sure, I didn’t. My collection consisted solely of CDs. Before that, though, I was into cassettes, followed by 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 have spent considerable time thinking about as it neared?

Sort of. I’ve mentioned before that some days it feels like I’ve been doing this for 200 days, and other days it seems more like 200 years—it varies depending on the day. However, I still enjoy it immensely, and I’m incredibly proud of “Kerosene.” That song prepared me well for the next twenty years in music.
It’s amusing because I don’t feel like I have changed significantly at all. Recently, my team has uncovered old archival material—interviews and performances—from earlier times, which is quite entertaining to revisit. These clips show young me, yet they capture the same spirited individuality I possess today. Essentially, aside from evolving as a songwriter, artist, and woman, the core essence of who I am remains unchanged—I retain that fiery spirit from the start.
I believe those initial experiences playing honky-tonks in Texas were instrumental in shaping my future artistic identity. Those formative moments allowed me to understand myself better, providing a solid base upon arriving in Nashville, even though everything felt dauntingly unfamiliar then. Knowing who I was gave me confidence to stay true to my vision.

Throughout my whole career, I’ve approached things in that manner. Looking back, maybe I was a bit overzealous. At the time, being young and unyielding, I thought, “If this fails, I’ll return to Texas.” I didn’t want to alter myself for anybody; I believed in staying true to whom I inherently am. Reflecting now, it seems rather courageous—though perhaps I should have shown more tact. However, I held firm convictions regarding both my actions and identity. It’s heartening knowing I still have supporters from those early days, ones who bring their children to concerts and use twenty-year-old tracks to raise them. Truly grateful that these works endured through the 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 did not generate any major hit singles initially. "Me and CharlieTalking" served as the lead single but failed to make significant waves. However, this helped establish your credibility as an artist. Meanwhile, the title track eventually became one of your most enduring legacies; although it only reached number 15, this performance was seen as quite a promising start for you at the time.

It wasn’t until “Revolution,” my third album, that I made it into the top five. It definitely didn’t happen overnight.

When you began at Sony, you collaborated with Tracy Gershon in your role as an A&R, which meant you had formidable supporters.

Tracy and John Grady, who was then the head of Sony Nashville, both told me, “Make the album you’re passionate about; that’s why we signed you.” I’m incredibly grateful for their support since things often turn out differently—and they frequently do. They expressed confidence in my judgment when I walked in declaring, “Frank Liddell should produce this record,” which felt very personal to me. Knowing that the label backed me up with an enthusiastic “Just go ahead and do it” made everything truly remarkable.

People used to ask me, “Are you going to be the next Dixie Chicks? Or the following LeAnn Rimes?” My standard response was always, “I’m the inaugural Miranda Lambert,” as I aimed to carve out my own distinct identity. I believe staying true to myself is why I’ve managed to navigate these past two decades successfully. Now, embarking on an entirely fresh chapter with a renewed recording contract feels incredible. Despite all changes, I remain deeply involved in this industry, and I attribute my longevity here largely to being genuine—something I hold dear when evaluating artists.

Certainly, you switched over to Republic Records last year. Are you at ease collaborating with your former label for this special release?

I agree. My entire musical journey has unfolded within Sony, where I spent two decades. The company has nurtured numerous significant connections for me throughout these years. Over time, they’ve accomplished remarkable feats on my behalf, which makes me appreciate our collaboration even more as we launch this project. It’s not something I approach casually since their involvement holds considerable weight in shaping my personal narrative.

This summer, you're set to perform 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 holds true even when they could be the main act. Additionally, Brooks and Dunn will open for you during these shows. Do you find particular allure in being part of such an arrangement?

Sure thing! Here’s your revised version:
So here's the deal—it's basically an enormous platform. Particularly when we're talking about a young artist from a different era like Morgan, everything changes completely; it introduces a brand-new vibe along with a fresh crowd that might never have witnessed us perform live. That excites me immensely—let’s dive right into it and demonstrate what our generation stands for. Another aspect I love is wrapping up around 8:30 PM so I’ve got plenty of time to kick back and enjoy watching the performance. Having played countless gigs over the years, occasionally feeling worn-out after performing later at night isn’t uncommon. This setup will rock! Plus, I believe deeply in both Morgan's talent as well as his musical prowess. Over the years, we’ve worked closely together, penning tunes side-by-side. To me, joining forces seems incredibly logical. He has consistently shown respect towards my professional journey, which warms my heart. Now feels absolutely ideal to introduce him to my fan base while simultaneously exposing his supporters to who I truly am. It works beautifully both ways—you scratch my back, I’ll scratch yours.

In an entirely different subject: We just found out about a significant Miranda-themed drag event scheduled in Austin soon.

I’m really looking forward to this. It’s going to be a grand showcase of every song from our collection, particularly the bold tracks performed by all those fabulous drag queens. What excites me the most is that I can simply attend and enjoy myself without having to worry about anything else. Over the years, I’ve contributed many spirited tunes to the world of drag culture, which fills me with immense joy, and now I’ll get an intimate look at how they’re celebrated. My sibling along with their spouse and all our mutual pals who often gather in Austin will also be present, making it even more meaningful for me.

The fact that you're considered a drag icon wasn't known by everyone, but with your strong influence from both Dolly Parton and Shania Twain, it naturally follows that there would also be inspiration for what could be called Miranda Lambert-inspired drag.

If you consider the names you just listed, entering that realm means you’ve achieved a certain status—you become known as a single-namer. Think of icons like Dolly and Shania, Reba, Cher, and Mariah; they’re instantly recognizable with just their first names. It makes me want to join their ranks—“Count me in,” I say.

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More from 5.180.24.3

• Morgan Wallen Announces 'I'm the Problem' Summer Stadium Tour, Titled After His Upcoming Fourth Album
• Miranda Lambert on Marking Twenty Years in the Industry, Switching Record Labels, Reaching 40, and Sharing 'Postcards From Texas': 'The Flame Burns Brighter Than Ever'