The six-track EP was made available by the country singer-songwriter on Tuesday along with a moving short video that depicts Ballerini struggling to express her feelings to a romantic partner while thinking about the end of her marriage.
In a statement, Ballerini referred to Rolling Up the Welcome Mat as the following installment of her most recent record, SUBJECT TO CHANGE from 2022.
“I hear a lot of introspection and angst when I listen to SUBJECT TO CHANGE. The deep dive into that struggle is here “the 29-year-old Grammy nominee. It felt good to trust myself again after spending the majority of the project writing alone.
In her brand-new album, Rolling Up the Welcome Mat, Kelsea Ballerini opens up about her divorce from Morgan Evans.
She continued by saying that the inspiration for her songs came from writing as a form of therapy through difficult times.
“When I was 12 years old, writing has been the only way I have been able to manage my life. Strangely, my parents’ divorce inspired me to start producing music; it served as my therapy “Ballerini’s comment was extended.
“I wish I had these six tunes last year. It explores the complexity of emotions experienced after a significant transformation at a young age, “About the project, she remarked. “I rolled up the welcome mat and thought everything through.
It’s the simplest way I could have handled it since it’s how I released my emotions and put them to music.” The opening tune, “Mountain with a View,” reveals her breaking point during the period she spent separated from Evans. The EP is replete with unique lyrics alluding to her breakup with Evans.
Ballerini, who married Evans at the age of 24, sings the chorus, “I’m wearing the ring still / But I guess I’m lying / Sometimes you forget yours / I think we’re done trying.” I know you loved me far more when I was 23. I believe this is the point at which things end for me.
It was a lovely wedding, and sometimes I still taste the Veuve, but dammit I wish I wasn’t this ready to undo I do, the singer sings in the second song, “Just Married,” which describes how she realized she was just going through the motions in their marriage once the love had faded.
Ballerini sings of leaving their opulent city apartment and moving into their first house when her marriage broke down in the third song, “Penthouse,” before kissing “someone new”: It kills rolling up the welcome mat knowing you got half, and it hurts putting s— in a box because we can’t communicate anymore.
The song is followed by a track that sounds like a journal entry called “Interlude,” in which she sings about admirers finding out about the breakup and the discussion that ensued.
Ballerini sings, “There’s a narrow line between love and hate / And it was love, but it wasn’t fate.” Rumors abound, but the truth is somewhat ambiguous. I want to put the record straight, but my attorney advises against it.
The fifth song on the album, “Blindsided,” sees the singer-songwriter questioning whether her lover really hadn’t anticipated their relationship’s demise.
Ballerini sings of their differences, “You’re claiming that you’re lost, and that’s lost on me / You didn’t ever want to leave the house, I didn’t want a family.” Sweetheart, were you blindsided or were you just blind? I know the truth is hard to hear, but it wasn’t hard to find.
The album’s final track, “Leave Me Again,” was presumably composed after the couple broke up and finds Ballerini daydreaming about what her ex is up to right now.
And Ballerini makes it plain she’s no longer prepared to compromise: “For a while the shoe fit / But then I outgrew it / And staying only helped me grow really good at pretend / So, I hope I never leave me again.” But the most important message is that even through her grief, she’s found herself.
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