One of the most common American responses to “What kind of music do you like?” is “Everything but rap and country.” Oddly enough, the genres comprise two of the most distinct American styles of music. Even with rap’s roots in Caribbean dancehall and country’s direct ties to blues and Celtic folk tunes, the two genres owe the majority of their development and popularization to American musicians and audiences. In the past two decades, rap has truly ascended to the mainstream; hip-hop and its cousin R&B have dominated American charts for years. Country has seen glimpses of that success yet remained, for the most part, out of the spotlight.

The one exception, of course, is Taylor Swift. Swift’s hook-forward, sparkly-clean country tracks helped her ascend to pop stardom by landing hit after hit on the Top 40 charts. Yet the last couple years, Swift became embroiled in embarrassing political misfires, cumulating in the entertaining, yet, sonically stale ego trip that was “Reputation.” With Swift shedding every hint of country within her sound and descending into narcissistic drivel, it appeared as if country’s day in the spotlight was done.

Hopefully, Kacey Musgraves’ gorgeous new record “Golden Hour” will be the spark that reignites mainstream interest in country music. “Golden Hour” just debuted at the number one spot on Billboard Country Albums chart and has received rave reviews from almost every major music publication. Given that music critics and country albums rarely get along, “Golden Hour” occupies a truly unique spot within modern music releases.

The power of the record lies within Musgraves’ incredible ability to balance country, pop, and atmospheric sensibilities. The banjo lines and slide guitars characteristic of country songs are respectfully pushed to the edges of the sound field; most songs on “Golden Hour” sound like country songs without making the characteristic twang of the genre a focal point. The drums, a core part of any pop song, are treated in similar fashion. They’re usually present enough to provide a rhythmic backbone, but rarely dominate a track (one notable exception being disco-country hybrid “High Horse”). Consistently at center stage are Musgraves’ lovely, pitch-perfect voice and her strummed guitar. On “Golden Hour,” the core of each song is given plenty of room to shine while gentle, spacey arrangements help them lift off at exactly the right moments.

“Golden Hour” feels at once intimate, immediate and sprawling in its approach not only sonically, but lyrically as well. While many country records have started reckoning with the friction between traditional country values and youth culture, “Golden Hour” really sticks its landings each time it hones in on the topic. Opener “Slow Burn” sets the tone immediately with a single-sentence short story: “Grandma cried when I pierced my nose.” The following track, “Lonely Weekend,” could be the most millennial country song ever written. On the track, Kacey frets with her phone as she oscillates between fear of missing out and missing those she knows she’d be having fun with. The track acknowledges the pain of loneliness while acknowledging its inevitability in a world connected by social media.

Musgraves effortlessly captures these universal divides over and over again over the course of “Golden Hour.” The result is a record that maintains its country bent while inviting listeners of all stripes to emotionally engage with its stories. Whether “Golden Hour” ends up a mainstream crossover record, it’s clear that Musgraves has created a record capable of widespread connection. Even if you’re a listener who’d never reach for a country album, you’re likely to find “Golden Hour” extending just far enough to gently take your hand.