90's Country Icons: Shania Twain

Introduction:

“Leaving Is The Only Way Out” is a compelling track from Canadian country-pop superstar Shania Twain’s breakthrough second studio album, “The Woman in Me”, which was released on February 7, 1995. Co-written by Twain herself, this song delves into themes of entrapment and the difficult decision to leave a stifling situation. While not released as a single, “Leaving Is The Only Way Out” is a significant part of an album that redefined the landscape of country music and propelled Twain to international stardom.

The musical genre of “Leaving Is The Only Way Out,” consistent with the overall sound of “The Woman in Me,” blends traditional country elements with a contemporary pop sensibility. This fusion, often referred to as country-pop, was a key ingredient in Twain’s widespread appeal. The song typically features a moderate tempo, heartfelt vocals from Twain, and a production style that incorporates both acoustic instrumentation and subtle pop flourishes, creating a sound that resonated with a broad audience.

While “Leaving Is The Only Way Out” did not achieve individual chart success as a single, its inclusion on “The Woman in Me” is intrinsically linked to the album’s monumental achievements. The album itself was a critical and commercial triumph. It topped the Billboard Top Country Albums chart for an astounding 29 weeks and peaked at number five on the Billboard 200. By the end of 1995, it was the best-selling country album of the year in the United States. “The Woman in Me” has since been certified 12-times platinum by the RIAA, signifying over 12 million shipments in the US alone, and has sold over 20 million copies worldwide, making it one of the best-selling country albums of all time.

The success of “The Woman in Me,” and by extension, tracks like “Leaving Is The Only Way Out,” earned Shania Twain numerous accolades, including the Grammy Award for Best Country Album in 1996. The album also won Album of the Year at the Academy of Country Music Awards and the Canadian Country Music Association Awards. Although “Leaving Is The Only Way Out” wasn’t a standalone hit, it contributed to the overall narrative and emotional depth of an album that undeniably left an indelible mark on popular music and solidified Shania Twain’s status as a global icon.

Video:

You Missed

In the mid-1970s, when Merle Haggard stood at the pinnacle of country music stardom, the applause often faded into something far more private. Behind the sold-out shows and bright stage lights, he carried a quiet burden — the accumulated weight of broken relationships, endless highways, and the solitude that success can’t erase. One evening, after stepping offstage, he returned to a modest motel room and turned on the television. An old black-and-white film flickered across the screen, filled with sweeping romances and neatly tied happy endings. As he watched the characters find effortless love and redemption, the contrast felt almost piercing. His own life had been far less cinematic — marked by failed marriages, restless touring, and the emotional distance that comes with living out of a suitcase. In that stillness, he began to reflect on how easily people measure their lives against fictional standards. Movies promise that love conquers all and that every heartbreak resolves before the final scene fades. Real life, however, offers no such guarantees. Expectations shaped by the silver screen often dissolve into disappointment when reality proves more complicated. From that quiet realization emerged “It’s All In The Movies.” The song became a tender acknowledgment that the flawless endings we admire are crafted illusions. Yet rather than sounding cynical, it carried empathy. For Haggard, it was both an admission of vulnerability and a gesture of reassurance — a reminder that imperfection does not diminish meaning. Through the melody, he seemed to tell listeners that while life may never follow a script, the emotions we feel are just as powerful as any scene in film. The movies may sell dreams, but the truth — messy, unfinished, and deeply human — is what truly endures.