Tag Archives: Eric Church

The Importance of Discussing Mainstream Artists: Featuring The Musical Divide

Too often, in the discussion of “real country” and keeping tradition alive, we see independent fans choosing to dismiss the mainstream altogether. It’s certainly easy to do when you discover all the alternatives and realize there really is substantive songwriting and actual country instrumentation out there thriving, just beyond the lenses of radio and streaming playlists. But completely turning our backs on the commercial side of country music could potentially have damaging effects on the genre’s longevity. I teamed up with Zackary Kephart of The Musical Divide to talk about why paying attention to and covering mainstream country is still necessary. Read that below!

Megan: Last year around this time we did a piece together on “real country” and the artists still keeping it traditional. But there’s also the other side to this coin, where many traditionalists and fans of independent country dismiss the mainstream out of hand. I know for you, this came to a head recently over Lauren Jenkins’ album. What would you say in response to people who say country radio and the mainstream are lost causes, and we should just focus on the independent world?

Zack: Well, I’d say it’s entirely their choice as music consumers. But personally, as a self-appointed critic and scholar of the genre, I’d advise against this. Whether we like to admit it or not, the country music industry is a business. Critically, and objectively, I always think of country music in terms of how others see it. For example, right now it’s likely viewed as a dumping ground for unfair stereotypes given the Lil Nas X debate. When artists like Maren Morris, Kane Brown, or Luke Combs, three of the biggest current names, release a new song or album, they’re the faces of country music. So I’d say it’s important to take stock in and care about the genre’s mainstream. Like it or not, the debates always circle back to the mainstream anyway. Right now, country music is in the midst of an identity crisis not unlike the one it suffered in the early-to-mid ’80s. Sure, I have other options, but I still care about country music and how it’s being portrayed to the public.

Megan: Don’t get me started on that debate; that’s a whole other piece entirely. But yes, country is definitely in an identity crisis and is being ridiculed on the basis of a lot of negative stereotypes right now. Some of those stereotypes certainly have a basis, but it’s discouraging to see such a one-sided, disparaging approach to the genre by so much of the mainstream media right now. Again, though, that could generate a whole other discussion on its own. As far as how the genre is presented to the public, I can’t overstate the importance of this. I think that often, we who have turned off country radio and discovered the independent scene forget that at one time, we didn’t really know there were alternatives. You can argue that radio is irrelevant, an assertion I don’t completely agree on anyway, but even if you do hold this viewpoint, streaming playlists are arguably even worse than radio at portraying the country genre. It’s easy to forget that the mainstream is the mainstream for a reason; it’s still the most popular music. It’s still what most of the next generation will use to determine what “country” sounds like. If we abandon it altogether, I believe we put the long-term future of the genre in danger. You mentioned the ’80s, which is a great comparison, but where would we be right now if everyone had given up on the mainstream back then?

Zack: Well, the thing with the ’80s compared to now is that we didn’t have those alternative sources. You lived and died by those radio playlists. Of course, we had also had an onslaught of country music related movies such as 9 to 5 and Honeysuckle Rose during this time. The biggest example is obviously Urban Cowboy, an event that caused everyone to want to be “country.” When that trend faded away, and all of the bandwagon jumpers left, country music had to reclaim its core audience. I think we’re seeing that now with the career resurgences of Brooks & Dunn, Reba McEntire and George Strait. Luke Combs, Riley Green, and Midland are further examples of trying to bring that traditional balance back in. That balance is what’s off-center, currently. The faces of the genre are the aforementioned names along with, say, Thomas Rhett. Granted, I liked his last album, but critically, he’s barely a country music artist. But he represents country music to so many right now. He’s also popular, and people like his music, statements that apply to every other popular country music artist right now. Radio is not irrelevant, but again, that also depends on whether you’re talking personal or cultural importance. People often think within the limits of their own perspectives, which is fine. But you’re right, it’s still the leading platform for preferred listening experience. It’s the same thing as saying award shows don’t matter. Tell that to Chris Stapleton.

Megan: “People often think within the limits of their own perspectives”; this is a great point and absolutely correct. People forget that the artists you mentioned are rewriting country’s history, and the people that grow up listening to Rhett and Morris will believe this is what country is supposed to be. This kind of thinking will erode the genre and completely rip it from its roots. This is also why I think the other important reason to cover and discuss the mainstream is to highlight those artists who are moving the genre forward and still respecting the roots. This is why it’s so frustrating that an artist like the aforementioned Jenkins, who can rightly be called pop country, has had virtually no support from Big Machine Records while Rhett, Morris, and others are the faces of the genre. Why do you think labels are ignoring artists like Jenkins while promoting straight pop and R&B and rap as country?

Zack: Well, Jenkins has explicitly stated that her team won’t even bother with radio, since they believe they can reach an audience without exploring that avenue. Perhaps it’s a bold, innovative move, but it’s also frustrating that this is a new mindset. I’d of course love if this could be the new model, but as you said, the alternative is streaming playlists. Even there, the idea of radio continues to live on. People enjoy being given a playlist they can listen to hassle free. With an endless array of music, we’re now faced with the tyranny of choice. Basically, it’s easier to listen to someone else’s recommendations. So playlists that are somehow even more male-focused are the new “norm” for listeners. There are many things worth fighting for in country music. Gender equality, representation of other sorts, and sanctity of the genre’s roots. Caring about having that equal balance though brands you as out of style or as a “purist.” It should come as no surprise that the face for traditional country music right now is Luke Combs, a guy who looks like he could change your oil at Jiffy Lube. Jamey Johnson and Stapleton are further examples. Meanwhile, here comes Rhett, Morris or King Calaway where it’s clear the focus is more on the image. And again, this has little to do with pure taste. I personally like Rhett, but critically, I believe it’s still worth our time and effort to care about country music and its portrayal.

Megan: It’s interesting in the case of Jenkins that they believe they can promote her album without radio. In general, I believe that can be done; we’ve seen it with Stapleton certainly and most recently with Kacey Musgraves. But with Jenkins, it feels like she’s caught in a weird place with that strategy, being too pop for many independent fans to take notice. She’s the kind of artist that should be promoted in the mainstream because the music seems to find more of a balance and be more radio-friendly without compromising the lyrics. It’s a shame they went this route because this is the kind of music I want to see pushing the genre forward. We need good pop country as much as we need the traditionalists like Luke Combs. As far as taste, yes, it has very little to do with that. Once again we are called to look beyond ourselves and see the bigger picture. People like Combs aren’t ever going to be the next Jason Isbell, but that’s not what we need in the mainstream to help carry the genre forward. You mentioned King George Strait a moment ago, and this brings me to a point I’ve made several times on CE while defending the importance of the mainstream. People point to the outlaw movement all the time as saving country music from Nashville in the 70s and putting the creative control back in the hands of the artists. This is all true, but look at Strait. He was signed by MCA in 1981 and given only one single because he was thought to be too traditional. Here we are almost forty years later, and he’s still on that same label with one of the longest, most commercially successful careers in all of country music. He did his part, along with others, to turn country back to its roots, but from the inside. King George never reinvented the wheel, but he is as important to the genre as any of the outlaws. We need artists like that today, solid, traditionally minded artists who can carry country music’s legacy forward by making it appeal to the masses.

Zack: Your points about Strait call important points to mind. With him, and even Waylon Jennings and Willie Nelson before during the outlaw revolution, they wanted to change the system. Jason Isbell, Sturgill Simpson and Margo Price don’t care to bring that type of change, which is fine. But it highlights a big difference between decisions made then and now. Strait represented an alternative to what was popular, just as certain artists such as Combs and Midland do now. Is it the exact same scenario? Of course not. But change requires more than just firing off a few tweets. It requires active change on the inside. Of course, that also involves being entrenched in the politics of it all, so it’s a tricky line to walk. And of course, this conversation isn’t strictly limited to traditional or pop country. It’s about caring about country music’s representation. Even someone like Eric Church, who’s hardly a traditionalist, represents a desire for true artistry. Within country music, he embodies that vagabond spirit that’s certainly familiar to country music, despite what his music may actually sound like. It certainly takes all kinds, but a lack of care will only mean that the bottom line gets served. Country music hasn’t needed saving in terms of pure quality. That’s hard to judge. But between the onslaught of the rockabilly movement, the Urban Cowboy movement, the stagnation of the Nashville Sound era (note again, “stagnation,” not an indictment of the era itself), and even now, country music has certainly needed saving.

Megan: Great point on Eric Church and the spirit of artistry. That’s important for country music and for all of music in general. Within country music, I’d argue that’s just as important, if not more, than keeping the traditional sounds alive. It’s more than fiddle and steel and even storytelling, it’s also about being an artist instead of a businessperson. In the mainstream, you have to be both, but someone like Church perfectly illustrates the difference between making a genre-bending record as an artist and exploiting country for cash like many of these artists do. I’m a big fan of Church, but even if you aren’t, or you prefer a more traditional sound, it’s important to see the larger impact of Church’s music and artistry on the culture. I’d rather listen to an artist with something to say than one who is simply going through the motions, even if their sound is traditional.

Zack: Agreed. And that’s still occurring in mainstream country. There’s still music worth discussing and championing, despite what naysayers say. More than that though, I think we’ve established that these conversations matter. To give up on the mainstream is to give up on country music and its potential. The current country charts are a cesspool because we’ve abandoned that hope and drive to fight for an American art form. In 20 years time, perhaps the entire landscape will change. I’d certainly expect a radical departure in the system at some point. Country music as a commercial genre isn’t even 100-years-old yet. But for now, examining and critically discussing artists within the mainstream isn’t worthless, it’s fighting for country music.

Megan: So for the naysayers and people who dismiss the mainstream and focus only on Americana and Red Dirt, who would you say is really pushing the genre forward right now in mainstream country? Who would you say is making the case for good pop country and making good modern music that still respects the roots of the genre?

Zack: You already mentioned Jenkins. I’m a big fan of what she’s doing. I’d say Combs represents the fact that country music is still for the everyday person. He also presents a curious case for how authenticity matters in the industry. Church represents the hangdog spirit that’s always been embedded in the genre. So does Miranda Lambert, despite recent setbacks. Riley Green, Jon Pardi, Midland, and even Blake Shelton now represent a turning of the tide for the genre. Carrie Underwood, despite an underwhelming recent album, also represents how country music can be accessible without completely compromising its roots. Stapleton is the mystifying oddity who both defies expectations and also represents that same outlaw spirit in country. Even Kane Brown, love him or hate him, represents the future of country music. Between him and Combs, there are no hotter artists out there right now in terms of commercial success. Again, this is me looking outside of my own perspective. Of course too, there’s names I’d love to say are killing it, but at the very least are trying to make it in a broken system. Cam, William Michael Morgan and Runaway June immediately come to mind, among others.

Megan: I agree on Combs being important for representing the everyday person in country, and not doing it in a patronizing way, or with cliches about trucks and moonshine. Stapleton and Church both represent that desire for artistry, that intangible thing that makes artists connect with an audience because we believe they’ve lived out their songs and have something genuine to say. Lambert has been important both in her solo career and through the Pistol Annies, keeping a more traditional sound and providing a much-needed female perspective. Underwood’s last album was underwhelming, but she’s always done a fine job of mixing country and pop in a way that’s respectful to both genres. I’d also cite Brothers Osborne as being somewhat similar to Combs in that they’re representing everyday people. Their last album really drove home the fact that in forsaking substantive lyrics and interesting melodies, we’ve also lost appreciation for guitar solos and instrumental flourishes. They aren’t traditional, but they are making very good modern music and evolving the country genre in the right way. And Dierks Bentley really returned to form on his latest record as well, managing to find a smart balance between contemporary and traditional. And of course there’s the aforementioned Musgraves, who achieved an Album of the Year Grammy for a country record. That’s victory in 2019. A staunchly traditional album is not going to see that kind of reception, and although I’m going to continue to stand and fight for the inclusion of traditional country and fair representation, Musgrave’s win is a victory for women, for substance, and yes, for music that can rightly be included in the country genre. It’s important to champion the good modern country, because these are the artists that will influence generations. And like it or not, I’m sure most of us would much rather Golden Hour be the album that influences younger audiences than anything by Rhett, Morris, etc.

Zack: I’d have mentioned Brothers Osborne, Bentley and Musgraves if I had only thought of them. Like I said, there are plenty of artists who could stand toe-to-toe with artists in the independent scene, and your contributions are also fitting names. As a fan, it saddens me that country music is looked upon as “yeehaw culture” or a genre of music people can make fun of since they don’t like it. To an extent, there is a danger that artists such as Florida Georgia Line, Luke Bryan, and Jason Aldean have brought to the forefront – rural pride pandering. Now we’re seeing the consequences of it all. And people do care about what’s happening in mainstream country music. Former journalist and current YouTuber Grady Smith’s viral snap-track video is further proof of that. In the end, I’d say it’s important to care enough about country music to examine it personally and critically.

Megan: It saddens me that country music is seen that way as well, and I do believe some of it is the aftermath of bro country. But country has been the victim of stereotypes, both warranted and otherwise, for its entire history. This is almost another entire discussion, and certainly an important one. It’s one I wouldn’t mind having in the future. But as far as this particular topic, I think ultimately you’re right. It’s important to care about the genre both personally and critically and to be subjective as well as objective enough to see others’ perspectives and the bigger picture. We shouldn’t give up on the mainstream, and we should champion the artists still doing it right on Music Row. As you said, these conversations matter, and I certainly enjoyed this one.

Album Review: Eric Church–Desperate Man

Rating: 9/10

At this point in his career, we all know that Eric Church isn’t really a country artist. His music is and always has been more correctly labeled as roots rock. But that’s not really the point anymore with Church, unless perhaps you’re a firm traditionalist who is only interested in music soaked with fiddle and steel. The bigger point with Eric Church is that in a mainstream full of compromise, he remains his own man, and in a world of drum machines and watered down lines, his records are organic sonically and intelligent lyrically. It may not be very country–although the songwriting on this record and even the instrumentation in a few places certainly can be argued as such–but Desperate Man is firmly and unashamedly roots music, with bluesy interludes and extended guitar solos, and radically different from the majority of major label albums, certainly different from those albums that are still somewhat radio-supported. Eric Church has not abandoned radio, or maybe it would be more accurate to say radio has not abandoned Eric Church, but you get the feeling listening to this album that airplay is a secondary concern, the primary ones being appealing to his fans, and most importantly, doing whatever he damned well pleases.

The rootsy, organic nature of this record is so refreshing. It’s not experimental to the point it loses sight of itself like much of The Outsiders, but the instruments are allowed to breathe more so than on Church’s last record, Mr. Misunderstood. Desperate Man balances the feel of those two albums well, finding and keeping the best elements from each of them. This record finds Church more sure of himself and his sound than ever before, and although there are varying influences, it feels less like the aimless wanderings of The Outsiders than just simply trying to correctly interpret each song and capture the right mood and style to fit the lyrics. He’s never in a hurry to get to the point, often meandering through various chords and guitar licks before settling into the groove of a song. The album opener, “The snake,” introduces the record with over a minute of bluesy guitar picking before any other instruments join the party. “Heart Like a Wheel” wanders through dissonant chords and arpeggios before sliding into its groove and selecting a key, and “Solid” features almost an instrumental prelude of drums and electric guitar flourishes ahead of the actual song. These are little things, but they really enhance the record, giving it a cohesive, continuing feel all the way through and further stressing the point that this isn’t your typical mainstream record full of artificial drumbeats and electronic sounds. These are actual musicians playing actual instruments and giving the album a bit of a live feel.

And you can say Eric Church isn’t country, but it’s hard to classify a song like “Jukebox and a Bar” as anything else. Sure, crying steel is replaced with electric guitar licks, but this is your classic country heartbreak song about drowning sorrows in a bottle. “Some of It” and “Hippie Radio” feature prominent acoustic guitar and country songwriting, the former detailing all the lessons life teaches you on the journey, and the latter being a story song revolving around the radio and how the different songs became the soundtrack of the narrator’s life, from driving around with his dad to starting a family of his own years later. Both of these could be accidental radio hits as well, fitting the format without compromising anything lyrically. “Solid” is another one that’s very country thematically; basically, think of a remake of Dierks Bentley’s “I Hold On.”

Vocally, Church just reaches a different level on this album. It’s like all the passion that we knew existed and which came out from time to time on his previous records finally reaches its full potential here. He slays the title track vocally, doing great justice to the songwriting of Ray Wylie Hubbard and singing with the same kind of fierceness and intensity that you can imagine Hubbard employing. This one is both better and worse in the context of the entire album–better because it fits the mood of the whole thing so well and worse because it’s not really a standout of the record. Church’s vocals are also on fine display in “Hangin’ Around,” the least country but also the most infectious tune on the album. He does a nice job building throughout “Heart Like a Wheel,” a song about opposites attracting that’s infused with some blues and soul. “Higher Wire” nearly stretches his range too far; it still works, but it admittedly may have worked better one key lower. Still, the strain goes well with the lyrics about this love that’s addicting and out of control.

Listening to this album, you keep waiting for that one obvious commercial single, but it doesn’t come. There’s no drop in quality lyrically and no compromise in the sound. Not every song is fantastic, but every song is good, and each belongs on the album. Desperate Man is eleven tracks and thirty-seven minutes long, with no filler and avoiding the mainstream trend to cram in as many songs as possible. Not only did Eric Church make the record he wanted to make, but the record he wanted to make was a damn good one. We should be both shocked and thrilled that this came out of the mainstream in 2018 and recognize it as a victory for artistic freedom and growth as well as one for organic roots music and quality songwriting. As for Church himself, this album signifies him finding his place vocally and sonically, releasing a record that not only stretches boundaries but also knows what it wants to be and carries out that vision well. This may not be for everyone, but again, that’s not really the point. It’s the album you want from Eric Church, the best of his career and certainly the strongest to come out of the mainstream this year.

Buy the Album

July Playlist on Spotify and Apple Music

Yes, the playlists are back! June had all the midyear lists, so I decided to just include some June songs in July’s playlist. Here’s where you can catch up on the latest stuff from artists such as Cody Jinks and Lori McKenna, the second artist to receive a 10/10 review in 2018, as well as check out some underrated names like Wes Youssi & the County Champs, Rhyan Sinclair, and El Coyote. Really strong playlist for the mainstream, including songs from Kenny chesney’s latest, songs from Dierks Bentley’s excellent album that came out in June, and new singles from Eric Church and cam. And speaking of new tracks, we have two strong ones from Jason Eady and Colter Wall off each of their upcoming records; any day either of these guys decides to release music into the atmosphere is a good one. As always, tremendous thanks to Zack for supplying this playlist to the Spotify people.

Apple Music users, you can follow me there @countryexclusive for this and all of our playlists, as well as for updates to the Saving Country Music Top 25. For July’s playlist,
Click Here

Spotify users, click below.

On This Eric Church and Gun Control Business

I’m a Second Amendment guy … That’s in the Constitution, it’s people’s right, and I don’t believe it’s negotiable. But nobody should have that many guns and that much ammunition and we don’t know about it. Nobody should have 21 AKs and 10,000 rounds of ammunition and we don’t know who they are. Something’s gotta be done so that a person can’t have an armory and pin down a Las Vegas SWAT team for six minutes. That’s fucked up.

These words came from Eric Church in a recent interview with Rolling stone when he was asked if his feelings about guns had changed after the Las Vegas shooting. Church goes on to say, when asked why he thinks nothing has been done:

I blame the lobbyists. And the biggest in the gun world is the NRA. … I’m a Second Amendment guy, … but I feel like they’ve been a bit of a roadblock. I don’t care who you are – you shouldn’t have that kind of power over elected officials. To me it’s cut-and-dried: The gun-show [loophole] would not exist if it weren’t for the NRA, so at this point in time, if I was an NRA member, I would think I had more of a problem than the solution. I would question myself real hard about what I wanted to be in the next three, four, five years. … I don’t care [about the blowback from fans]. Right’s right and wrong’s wrong. I don’t understand why we have to fear a group [like the NRA]. It’s asinine. Why can’t we come together and solve one part of this? Start with the bump stocks and the gun shows. Shut a couple of these down. I do think that will matter a little bit. I think it will save some lives.

That blowback from Eric Church fans has come in spades, particularly on social media, where fans are boycotting the singer’s music for not standing with the NRA, and others are in the “artists should shut up and sing” mindset. The beautiful and ironic thing about this is that any true fan of Eric Church, or anyone who read the article, would know Church doesn’t give a damn whether these people agree with him or not. But the bigger problem is the overwhelming way we continue to let politics divide us, and seep into the world of music which is an art form that can bring us all together and cross all political and cultural lines.

First of all, isn’t it sad that we’ve become a society which seeks out the political commentary in whatever we’re reading while simultaneously ignoring everything else? Eric Church does an interview here about Garth Brooks’ decision to lip sync at the 2017 CMA Awards, a major surgery and near-death experience, and the organic nature of country music, yet all anyone can discuss is his political comments. Shania Twain did an interview recently where she opened up about her childhood and horrific instances of abuse, and all anyone could talk about was her comment at the end saying that she understood why people would vote for Trump. But focusing on Church, even among the political stuff, he discusses Trump, immigration, and most notably, his unwillingness to vote for either side in 2016 and distrust of any politician. Yet for all these so-called fans, nothing matters except his stances on gun control.

And by the way, Eric Church didn’t make some radical statement about banning guns; he emphasized support for the right to bear arms. There are people on the opposite side of this debate, especially in the media, who have charged country artists with stronger positions on gun control to come out and speak on the issue. Maybe this reaction from Church’s fans will explain why they don’t. No artist should have to speak on any issue he or she doesn’t want to, and by the same token, every artist has the right to free speech and free thought, and every artist is a human being with their own ideologies. NO one should be obligated to take a certain political stance, but no one should be told to “shut up and sing.”

To Eric Church fans specifically, if you’re giving up his music because of his politics or his willingness to stand up for his beliefs, you had no grasp on Eric Church as an artist or a person in the first place. He’s made a career out of speaking his mind and going against the grain. And as music fans in general, how sad it would be to limit our tastes in music based on the artists’ politics; Jason Isbell wrote my 2017 song of the Year, but should I boycott his music because I don’t agree with a lot of his politics? The inability to separate Eric Church or any artist from a political viewpoint says more about the fan than the artist, for it signals that these fans are not really free thinkers capable of opening their minds. And whether or not you agree with Church, he’s being a free thinker here, not swayed by society or what people might think of his opinions.

Finally, music and other forms of artistic expression have a power like nothing else to bring people together. Artists like the aforementioned Isbell or the notoriously outspoken Sturgill Simpson may choose to use their music to speak about their politics. Others may use it as an escape from the ugly, divisive world that surrounds us. Music is above such things as people’s political views, and it’s the one thing that can draw us all together. Eric Church even speaks of this in his interview, a point that many have either not read or chosen to filter out of their brains for the sake of their own agendas, stating that he loves that the people who come to his shows are from many different backgrounds and cultures and hold all kinds of political viewpoints, but in that space, they are all united. That is what we should have taken from his interview if nothing else–that music holds the power to heal our divisive culture, and it’s a shame that so many are using his words to pull us further and further apart.

Single Review: Eric Church’s “Desperate Man”

Rating: 7/10

Eric Church and Ray Wylie Hubbard may be the most genius musical pairing I’ve seen since George Strait and Dean Dillon. Why? Because Ray Wylie Hubbard is a master storyteller, especially when it comes to God and the devil and using biblical and paranormal references in his songs. However, the problem I had with his last album was that all those insanely good and interesting lyrics were brought down by samey, bland melodies that plagued the whole record. But take lyrics like Hubbard’s, and give them to Eric Church–here’s a vocalist who sings with fire and passion and understands the value in the sheer delivery of a song and interpretation of a lyric. Now it becomes something only a co-write like this one could have produced, a song with darkness and substance that appeals to independent music fans while also being pretty accessible to the mainstream.

That mainstream sensibility does lead to the strange, almost disco arrangement, and the “boo boos” in the background can be more distracting than catchy. The production style isn’t a problem within itself, but you do feel like it could have cut loose a little more, in the vein of “Chattanooga Lucy,” a song which this one calls to mind rhythmically. That song did a better job of letting the instrumentation take over than this one does, but the organic nature of an Eric Church song is always refreshing to hear in a world of drum loops and electronic sounds.

Ray Wylie Hubbard’s hand is all over this, as this tune was borne of his story about going to a fortune-teller and being told he had no future to read. It’s weird and quirky in the way a Ray Wylie song always is, but Eric Church makes it lively and fun, and before you know it, you’re singing along to lyrics about nailing crucifixes to walls. And Church slays this vocally; when he comes in at the bridge belting the lyrics with only percussion behind him, just like in “Lucy,” it’s one of those magical moments that you can’t forget as a music listener.

It’s an interesting song; the first time you listen, it’s kind of strange, and the production can get in the way. But a few listens in, and it hooks you. The very lines that made it weird are the ones that make it stand out in mainstream country, and the very aspects of the production that can be annoying at first are the ones that hold this together and render it a really catchy, fun song. More collaborating from these two, please.

Written by: Eric Church, Ray Wylie Hubbard