Miranda Lambert fondly refers to her earlier self from her groundbreaking 2005 debut album, “Kerosene,” as “child me.” This moniker reflects the creative spark she had as a young artist, and her fiery passion for music was evident from the very first record she created for Sony Nashville. Lambert emerged as a powerful symbol for women in country music during a pivotal time, especially following the Dixie Chicks era when the genre was in desperate need of fresh voices. Her debut not only showcased her talent in the explosive title track but also revealed her depth through the more nuanced songs that surrounded it, establishing her as one of the most significant artists in the history of country music.

The iconic “Kerosene” album is making a comeback, as Sony is reissuing it in two formats. Interestingly, this marks the first time it will be released on vinyl, a noteworthy gap that is now being addressed with an LP version set to launch on April 25. Additionally, the album is currently available digitally, enhanced by the inclusion of a previously unreleased outtake titled “I Don’t Love Here Anymore.” Fans can listen to this exciting bonus track below, adding to the album’s legacy and providing a tantalizing glimpse into Lambert’s creative process during that era.

Recently, Lambert has been busy not only reflecting on her past but also forging ahead in her career. After signing with the Republic label last year, she released her first new album under that imprint titled “Postcards From Texas.” In a conversation with Variety, she expressed her excitement about celebrating the 20th anniversary of the album that first introduced her to a wider audience and significantly shaped her artistic journey.

Many artists often feel a sense of discomfort regarding their debut albums, wishing they could change certain aspects or acknowledging the pressures from their record labels.

Absolutely, it’s a common experience. When I found out we were going to celebrate “Kerosene,” I revisited the album and realized that I am genuinely proud of it. I appreciate where I was at that time and how far I’ve come since then. I want to share this experience with younger artists, encouraging them to create music that they would proudly present to their idols. That’s a guiding principle for me, and I’m confident that I could walk up to George Strait and confidently hand him this album without hesitation.

The digital re-release features a previously unreleased bonus track, “I Don’t Love Here Anymore.” Is this an original recording from those sessions?

Yes, this track is indeed an original recording from those sessions, and honestly, I had forgotten about it until Marion Kraft, my long-time manager, suggested we explore options for the 20th anniversary. He unearthed it from the archives, and I’m thrilled to have it back. Listening to it again is nostalgic for me; it feels like “child me” and reveals a vulnerable side since it’s such an old song. However, I wrote it, and I’m proud and excited to share it with the world.

Does the availability of a vinyl version hold significance for you? Some people are passionate about vinyl, while others are indifferent.

I am genuinely excited about it! The resurgence of interest in vinyl among younger generations is heartwarming, and it’s such a fantastic medium to collect. I come from an era when vinyl was considered obsolete, but now that it’s making a comeback, I feel grateful to have this opportunity to embrace it. It truly adds a special touch to my music and gives fans a tangible piece of my artistry.

It’s interesting that you describe that era in the ‘90s and 2000s as “old-school,” especially when vinyl was seen as a dying format, and most albums weren’t released on LP.

I know, right? I grew up with CDs and cassette tapes, and vinyl was something I didn’t experience unless it belonged to my parents. Recently, my dad has been passing down his vinyl collection to me, and it’s exciting to see how this format has come full circle in my life. It’s a lovely connection to my musical roots and a reminder of where I started.

As you approach the 20^th anniversary of your major-label debut, is this milestone something you’ve contemplated?

Yes, in a way. I often say this, but some days it feels like I’ve been in this industry for 200 days, while other days it feels like 200 years. It really just depends on the day! However, I still love what I do and I’m incredibly proud of “Kerosene.” This album laid the foundation for the next two decades of my music career. It’s amusing how I don’t feel I’ve changed much at all. My team has been digging up old interviews and performances from back in the day, and it’s hilarious to see how similar I still am. While I’ve grown as a songwriter and evolved as an artist and as a woman, that same fiery spirit remains. Those early honky-tonk days in Texas truly helped shape my identity as an artist, and I’m grateful for those formative experiences. They gave me the grounding I needed when I moved to Nashville and faced new challenges. I knew who I was and what I wanted to express, and I was determined to stay true to my vision.

Throughout my entire career, I’ve maintained that authenticity. I might have come off a bit too strong at first, and looking back, I realize I was brave in my conviction. I thought, “If this doesn’t work out, I’ll just return to Texas. I refuse to change for anyone.” I feel fortunate to have had fans who have supported me since the very beginning, even bringing their daughters to my shows and introducing them to music that has stood the test of time. I’m incredibly grateful that my work has resonated across generations.

Is there a particular sleeper hit from the “Kerosene” album that stands out to you?

One of my personal favorites is “Love Is On the Lookout for You.” It’s a special track that captures a unique emotion and showcases my style.

While the album didn’t generate massive hits at the time, “Me and Charlie Talking” was the first single, which served to establish you as a credible artist. The title track later became one of your most iconic songs, peaking at No. 15, which was a respectable start for you.

Indeed, I didn’t achieve a top-five hit until my third album, “Revolution,” so it certainly took some time to gain traction.

You collaborated with Tracy Gershon as your A&R when you first joined Sony, which provided you with strong advocacy.

Yes, having Tracy and John Grady, who was the head of Sony Nashville at the time, was instrumental. They encouraged me to create the album I wanted to make, which is why they signed me. I’m incredibly thankful for that support; it could have easily gone another way, as it does for many artists. Their trust allowed me to approach the process confidently, and I insisted on working with Frank Liddell as the producer because I felt strongly about that decision. Having the label fully behind me in that choice was truly special and significant.

People often asked me, “Are you the next Dixie Chicks or the next LeAnn Rimes?” I would always respond, “I’m the first Miranda Lambert.” I aimed to carve out my unique identity in the industry, and I believe that authenticity has been my key to enduring success for these past 20 years. Now, as I embark on a new chapter with my recent record deal, I feel invigorated and ready for this exciting new era in my career.

Of course, you transitioned to Republic last year. Do you feel comfortable collaborating with your former label on this commemorative edition?

Absolutely! Having spent 20 years at Sony, my entire music career has been intertwined with that label. I’ve built amazing relationships there and appreciate all they have done for me over the years. I’m thrilled that we are working together on this project because it holds significant meaning for me. I don’t take lightly the fact that they are part of this milestone in my story.

Your summer tour includes stadium performances with Morgan Wallen. In the country music scene, artists often prefer to support major acts rather than headline their own shows. What draws you to this opportunity?

Well, it’s all about the grand stage! Performing alongside a younger artist like Morgan opens up a whole new dynamic and audience that may not have seen me perform before, and I’m excited about that opportunity. My mindset is, “Let’s show them what our generation is all about!” Another highlight for me is that I will finish my set by around 8:30 PM, allowing me to relax and enjoy the rest of the show. After years of performing, it can get a bit tedious to go on stage late at night. I think Morgan puts on a fantastic show, and I genuinely appreciate his music. We’ve collaborated and written songs together, and I believe this partnership makes perfect sense. He has been very respectful and vocal about acknowledging my contributions to the music industry. It feels like a great time to share my artistry with his fans while also introducing my audience to the amazing work he does.

On a different note, there’s an upcoming Miranda-themed drag show in Austin that has garnered attention.

I am incredibly excited about that! It’s going to be a celebration of my entire catalog, showcasing all the sassy songs performed by talented drag queens. The best part is that I get to simply show up and enjoy the festivities. I’ve always felt connected to the drag community through my vibrant songs, and I can’t wait to experience it up close. My brother, his husband, and all of their friends from Austin will be there, making it a truly special occasion for me.

Many of us might not have realized your impact as a drag icon, but with the popularity of Dolly and Shania drag, it’s no surprise there’s a place for Miranda drag as well.

Absolutely! When you think about the names you just mentioned, being recognized in that world means you’ve really made it—you become a one-name icon. Alongside legends like Dolly, Shania, Reba, Cher, and Mariah, I feel honored and excited to be part of such a vibrant community. It’s a testament to the impact of my music and its connection with diverse audiences.