Much ado is rightfully made about Shania Twain’s considerable talents as a singer and songwriter, but the iconic country artist doesn’t get enough credit for her unorthodox, often humorous perspective. Like the best divas, Twain is a queen of camp, and her quirky worldview elevates songs like “That Don’t Impress Me Much” (her delivery of, “OK, so you’re a rocket scientist” is comedy gold) from run-of-the-mill radio hits to timeless pop-country classics. Accordingly, her music is at its best when it can also make room for her larger-than-life personality. On this seventh studio album, Twain lets her personality shine. Produced by Zach Dawes (Lana Del Rey, Bully), Little Miss Twain is billed as a return to form, as Twain fully immerses herself in the rootsy country sounds that more frequently populated her earliest work. Lyrically, the record finds her reflecting on her childhood in southwestern Ontario, something she does especially masterfully on the title track. A collaboration with fellow living legend Tanya Tucker, “Little Miss Twain” is an origin story rich in detail and rife with allusion, like when Twain references Janis Ian’s seminal “At Seventeen”—“’Bout the ugly truth of youth and vanity,” she sings—and recalls when her own mother insisted a young Twain would grow up to be a successor of Tucker herself. These full-circle moments abound on Little Miss Twain, as with “Northern Town”, where she traces the roots of her hard-won resilience back to her formative years surviving in a harsh, unforgiving climate. The choir vocals and laidback groove of “That’s the Money” offers a fuller glimpse of Twain’s musical DNA, as does “Faded Blue Jeans”, an unexpected collaboration with Queens of the Stone Age’s Josh Homme that splits the difference between swampy Southern soul and gritty rock. “Take It to the River” is the final collaboration on the LP, bringing together Twain and powerhouse country vocal duo The War And Treaty for a dramatic, harmony-rich ode to reconciliation.