Wright said it was a confluence of conscience and circumstance that put her in a position to detonate this career bombshell at this time. For one thing, she feels the tug of a career desire to make music that is less beholden to radio airplay and more defined by the album statements of a veteran song crafter.
"Look, I'm not 19 years old. I'm getting older. I want to be an artist who can be relevant at 60 and still getting better. You look at people like Levon Helm and Emmylou Harris and they're still getting better and challenging themselves. I'm about to turn 40 and I don't want to be trying to figure out a way to rewrite 'Single White Female' and 'Shut Up and Drive.' There's nothing sadder than trying to redo that."
In 2005, Wright released "Metropolitan Hotel," a collection that revealed an artist who wanted to move toward an alt-country sound, but instead of taking a leap, it was more of a tentative half-step, she admits now.
"I panicked. I got insecure about my abilities to grow artistically and then I got a little seduced by what I knew — you dance with the one that brung you and commercial country music has been so good to me. So I made half of the record in an artistic fashion looking toward a Rodney Crowell, Rosanne Cash, Lucinda Williams vein and then the other half I made with country radio in mind."