Miranda Lambert Told Us *Everything* About the Making of Her New Album 'The Marfa Tapes'

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Miranda Lambert is no stranger to singing alongside women: She’s sung with Carrie Underwood on “Somethin’ Bad,” Maren Morris on “Way Too Pretty for Prison,” and, most recently, Elle King on “Drunk (And I Don’t Wanna Go Home).” She's also released three albums with her all-female trio Pistol Annies, comprised of Miranda, Ashley Monroe, and Angaleena Presley.

But it’s Miranda and the boys on her latest record, The Marfa Tapes, released on May 7. The trio that penned one of country music’s most heartbreaking songs, “Tin Man,” is back, and this time with a full album.

Singer-songwriters Jack Ingram and Jon Randall joined their longtime friend Miranda on the 15-track album, written and recorded in remote Marfa, Texas, where the three have written many songs over the course of many years. The Marfa Tapes was created outside around a campfire, and the sounds of nature in Miranda's native Texas chime in as the fourth "voice" on the album.

Here, Miranda shares stories about recording during a pandemic, the beauty of Marfa, and the best dish her mama, Bev Lambert, made for the trio while they worked on the album.

The Marfa Tapes isn't just a record – it’s an experience. Tell us about the experience of recording in Marfa, Texas, and why you chose to go there. Set the scene for us.

Jon Randall first discovered Marfa by looking at an atlas and picking the spot in the middle of nowhere in Texas. He mentioned Marfa to both Jack and I, and one day when Jack was playing Midland, Texas we just decided to go and see him play and then go to Marfa to hang out. It was the perfect place to disappear for a few days and be with friends. Writing together was a bonus.

When one is in Marfa, you are just taken by the raw beauty of the landscape. We usually stay at the bottom of the valley – which is one of the darkest places in the United States – and the stars just illuminate the entire sky.

Whose idea was it to do this record, and in this way?

Jon and I were sitting in the car listening to our work tapes from the day, looking at the stars, and we asked one another why we didn’t just put them out. We originally wanted to release the actual work tapes recorded on our phones, but the quality was too low and cows were so loud that you couldn’t hear us sing. That’s when the idea was born. We took out a couple microphones and captured the rawness of the songs with high quality audio.

You recorded this in the middle of a pandemic, outside, and not in a studio. While this was all obviously different from a typical recording session, what made it especially memorable?

Having all that time brought an opportunity to do a lot of thinking, being creative and putting everything in perspective. It made me reflect on my songwriting and what I wanted to say. The pandemic brought another opportunity to go back to Marfa and write without a business goal in mind, which is true freedom.

When we recorded, you can literally hear the cows in the background and the planes overhead. That is really special, and I don’t know that this would have happened if it wasn’t for the pandemic.

You've recorded solo and as a part of Pistol Annies, an all-female trio. What was it like recording with the boys this time? What's the biggest difference recording an album with two men as opposed to two women, or solo?

The phrase you can’t make old friends has never been truer for myself, Jack, and Jon. I’ve known Jack since I was 15 years old. There is a comfort that is present when I get to record with people other than myself. It is not quite as scary.

I think the difference between recording with the Annies and recording with Jack and Jon is literally the same difference you might experience recording with your sisters versus your brothers. The dynamic is different, but the familial feeling is similar.

Describe your relationship over the years with Jack and Jon. How long have you been working together?

We’ve made the trip to Marfa together four different times beginning in 2015. I’ve known Jon and Jack for what feels like forever. I used to see Jack’s shows as a teenager in Texas. Jon’s dad and my dad were friends in the police force together in Dallas. We’ve grown up together as friends and as artists.

There is also an accompanying film about The Marfa Tapes – why did you add a visual element?

We wanted to invite listeners to our Marfa experience both sonically and visually. Spencer Peeples directed the film, and he was able to capture the breathtaking beauty of the landscape and environment that inspired and continues to inspire the music we create. I hope the viewers appreciate the glimpse into the rare intimate moments where we were our most vulnerable as songs poured out of us.

What are the elements of a good songwriting session?

I can only speak for myself, but my approach to songwriting is honesty and vulnerability. I write from the heart and have never deviated from that in my career. I think when you have three people in a room willing to be completely vulnerable with one another, you are bound to make some magic with great songs.

We heard your mother cooked for the three of you while recording. What was one dish you couldn't get enough of?

Well, all her dishes are delicious, but her meatloaf is famous! My Mom, Bev, is truly an amazing host and cooks like a champion. Also my Dad, Rick, is part of this culinary endeavor, too. When we went to Marfa, I asked my parents if they wanted to come and cater our writing retreat for us, since it’s the middle of nowhere and its harder to figure out food when you are focused on creating.

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