In 2016, Maren Morris broke all the country music rules. Her major label debut album, “Hero,” was a vivid indictment of country’s dull masculinist norms — it had wit, creativity, punch and ambition.

And as you might expect with all things Nashville, it made Morris … moderately successful. Country music has been clogged with dullish gentlemen for the last few years, and while Morris recorded some of the genre’s most promising music, some good it did her. She had a handful of hits — the cheeky “Rich,” the desperate “I Could Use a Love Song,” the howling “My Church” — that tartly underscored just how ideologically robust the rest of the genre wasn’t.

It took sidestepping country altogether for Morris to get something like her due. “The Middle,” her 2018 chunky electro-pop stomper with Zedd and Grey, became the biggest Maren Morris hit — No. 5 on the Hot 100, and Grammy nominated — but also the one least specific to her talents.