While there are disco elements in several of her songs, from the louder volume on the high-hat and the tuning of the guitars and banjos above her vocal range to even the use of vocoders in an unexpected salute to disco pioneer Giorgio Moroder , which all work to create a more "girly" sound, the idea is most prominent in the track "High Horse." Putting it into historical context, the fight between rock and disco in the '70s was a struggle between traditionally masculine music, performed and sung by and large by men for men, and dance music that originated in gay clubs and included scores of female vocalists making a more inclusive sound that used non-traditional instruments and eschewed the guitar. So, among the other moves Musgraves has made to carve out her own idea of what modern country music is/what a modern country star does (like opening for Harry Styles on his U.S. tour and eschewing the existing model of kissing up to country stations to garner airplay ), this is a political move wrapped up in a musical context. A quick look at literally any chart will show you that country radio barely plays songs by women . It's a known problem in developing a career as a female artist , because radio is still where fans of the genre go to hear new music. Musgraves leans into the idea that she's not going to do what anyone tells her by making the music even more feminine. With an album like this, she's sending the message to the establishment that she doesn't care what the gatekeepers want , either because she no longer feels she needs them or she outright thinks they're wrong. Put succinctly: it's the decision of a bad ass, rebellious female artist.