Miranda Lambert's new song "Dammit Randy" is a quintessential example of her style—independent, story-driven, and deeply rooted in country music—but it also marks a fresh direction for the superstar.
One notable aspect of the song is the inclusion of a new co-writer: her husband, Brendan McLoughlin, whom she married in early 2019.
While McLoughlin lacks a background in country music, having previously been a New York City police officer, he has fully embraced the genre since their marriage.
He frequently joins Lambert at red carpet events and industry gatherings, and has appeared in music videos for her songs "Settlin' Down" and the Telemitry remix of "Tequila Does."
McLoughlin is also a talented singer. A couple of years ago, he performed a karaoke-style duet of the Grease hit "Summer Nights" with Lambert at her Nashville bar.
The other co-writers on "Dammit Randy" are familiar names to Lambert's fans. Audra Mae, who co-wrote "Little Red Wagon" and Lambert's recent single "Wranglers," and Jon Randall, one of Lambert's most frequent collaborators.
Randall and Lambert, along with Jack Ingram, co-created The Marfa Tapes, a stripped-down collection of songs recorded in Marfa, Texas.
For Lambert, "Dammit Randy" represents a bridge between the familiar and the new. Upon releasing the song, she explained that it was inspired by her departure from Sony, her label for 20 years, and her new journey with Republic and Big Loud Records.
"We were talking about how excited we were to be starting this journey with a new label family... and how supported we felt by them," Lambert shared.
"That conversation turned into talking about situations where you might not feel so supported by someone—in this case, an unappreciative Randy. So, this one's for anyone with a Randy they need to move on from."
While Lambert's discography includes many songs about leaving a lover, "Dammit Randy" offers a more mature and subdued take on a breakup compared to her earlier, more fiery hits like "Kerosene" and "Gunpowder and Lead."
This song focuses on self-awareness and the realization that she has outgrown a dead-end relationship, rather than the dramatic flair of her early career heartbreak anthems.
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