Miranda Lambert has officially entered her disco era, and “Crisco” makes that plain within seconds. The new song, released this week, folds country into a bright, dance-floor beat and signals that Lambert’s turn toward disco-country is not a one-off detour.
It is not her first step into this lane. The source notes that “Crisco” was not Lambert’s first song in the new era, pointing back to “A Song To Sing,” her summer 2015 release with Chris Stapleton. That earlier track arrived with heart-shaped mirror ball artwork, a small visual clue that now looks like the start of a longer experiment rather than a novelty.
“Crisco” was written by five songwriters: Lambert, Jesse Frasure, Kris Wilkinson, Chill Fellacheck and Aaron Raitiere. The song blends country and disco elements and is meant to be bouncy, fun and built for dancing. The review also says it references “Islands in the Stream,” the Bee Gees-written classic that sits at the center of country’s long flirtation with gloss, groove and crossover appeal.
That is where the song’s weight shows up. The review gives “Crisco” a score of 6/10 and does not pretend it is trying to be more than it is. It calls the track “empty calories,” but also says, “There’s nothing generic about it, especially as a pop song.” In other words, the song is catchy enough to justify the gamble, even if it does not fully stick the landing.
The stakes are a little clearer because Lambert is not doing this in a vacuum. Country music is in a retro moment that keeps circling back to disco and Urban Cowboy-era sounds, and Lambert’s latest move fits that wider pull toward old-school shine. The source says both “Crisco” and “Song To Sing” will feed into a bigger disco-country album, likely due later this year, suggesting she is building a full project around the sound instead of testing it with singles.
There is also a more grounded measure of how her earlier effort landed. “A Song To Sing” stalled out at No. 30 on the charts and reached No. 17 on radio, a respectable showing that still left room for a bigger breakthrough. “Crisco” now has to do more than nod toward nostalgia. It has to prove that Lambert’s disco-country turn can travel beyond curiosity and into something listeners want to keep playing.
For now, the review is skeptical about its commercial ceiling. “It’s hard to see ‘Crisco’ doing much better,” it says, which is a blunt way of saying the song may be more of a marker than a hit. But if Lambert really is building toward a later-this-year album, that may not be the point. “Crisco” sounds like a signpost: she has picked a lane, she is staying in it, and she seems ready to see how far country can stretch before it stops feeling like country at all.
