A pair of new songs from Miranda Lambert — her first new solo material since 2016 — show off the parts of her arsenal that have been absorbed by others and those that remain indelibly hers. Musically, “It All Comes Out in the Wash,” is genial verging on folksy. Lambert applies her curlicue twang while describing a variety of mishaps, some small and some just the other side of decent — dating a bridesmaid’s ex and bringing him to the wedding nonetheless, a dalliance with the boss. These are the small-town foibles that Kacey Musgraves has made her stock in trade. In a Nashville that has largely forsworn emotional complexity in favor of clunky earnestness, it stands out, but is not Lambert’s turf alone. “Locomotive,” however, captures something far more ineffable. Her voice is less melodic, more jagged at the rim, while the music is far rowdier, suggesting a bar band scrambling to finish up before closing time. And Lambert, unlike any of her peers, is just as elegant in this chaos — causing this chaos — as when she’s holding back. JON CARAMANICA