Miranda Lambert has spent her career proving that country music has plenty of room to roam. On Crisco, the Grammy-winning songwriter and superstar takes that idea somewhere unexpected, weaving the familiar sounds of honky-tonks, heartbreak, highways and romance into a record infused with the pulse and glamour of seventies disco.

Co-produced by Lambert and Jesse Frasure, Crisco features 12 tracks, including the title song and the Grammy-nominated Chris Stapleton collaboration “A Song To Sing.” Across the album, Lambert draws from country’s deep well of tradition while embracing rhinestones, roller skates and dance-floor vibes. The result is a record built around the idea that country and disco may have more in common than their wardrobes suggest.

“It has so many elements of the country music that I love that I’ve never put on tape,” Lambert says. “There’s a looseness to it, a joy. It feels like dancing in your kitchen with the person you love, spinning old records, not overthinking a thing.”

The title track, written with Aaron Raitiere, Frasure and Chill Fellacheck, pushes that philosophy directly into the spotlight, pairing country soul with classic disco and nodding toward classics including Glen Campbell’s “Southern Nights” and Kenny Rogers and Dolly Parton’s “Islands in the Stream.”

The album opens with “Snakeskin Boots,” a collaboration with Ella Langley that blends the atmosphere of late-sixties western films with retro-pop moments. Lambert describes its story as an alternate ending to Thelma & Louise, with two women escaping rather than driving toward the cliff. “We wrote ‘Snakeskin Boots’ with Ella in mind,” Lambert says. “She and I are kindred spirits.” Their creative partnership has already produced Langley’s Dandelion, with Lambert co-producing the project, appearing on “Butterfly Season,” and co-writing and co-producing the hit “Choosin’ Texas.” Elsewhere, “Two Things Can Be True” explores the uneasy territory between love and separation. Lambert sings in a lower register over steel guitar and strings, creating what she calls an “old-school Patsy Cline feeling.” For Lambert, the arrangement becomes almost another voice. “It feels almost like singing a duet with the steel and strings,” she explains.

After seven No. 1 solo albums, 10 No. 1 radio singles and more than 80 major awards, Lambert hardly needs another reinvention. Crisco suggests something more interesting; an artist stretching the boundaries of country into an unlikely place.