This is the trio’s second project on Big Machine. What A Song Can Do is the title, and for Lady A it can make them rich. 10 years ago, Need You Now and I Run To You both pushed the same sort of Adult Contemporary country which was strong on melody and harmony. I prefer their quicker songs like You Look Good, Lookin for a Good Time and Downtown but Lady A are about ballads and heartache and longing and melancholy and money. Did I mention money?
Having moved to Big Machine to replace Taylor Swift on their roster, it seems that Scott Borchetta wants some money. Thus their album Ocean included some top-notch ballads like What If I Never Get Over You although the rollout was scuppered by coronavirus and the success of Champagne Night, which was part of the NBC Songland show.
Their next project comes in two parts and has been trailed by two sides of Lady A: Like A Lady (‘sipping on tequila with my Levis on’) is basically Now That’s What I Call Mum Jeans, sold convincingly by mother-of-three Hillary Scott. File alongside Downtown and Bartender. Things He Handed Down is a smart song about intergenerational love that Thomas Rhett could have made a fortune with if he hadn’t let Lady A record it. I imagine this can be paired with Hello World in concert.
That’s how I am viewing this collection of songs: new versions of old tropes but this time Big Machine makes back an advance, not Capitol Nashville. Talk of This Town is a typical Nicolle Galyon song (much like It Ain’t Pretty) where the trio sing of things which provide a town with gossip and conversation in checkout lines where ‘everybody’s takin’ sides’. It is such a Lady Antebellum song they are in danger of plagiarising themselves.
Hillary Lindsey was in the room for Fire, a song narrated by Hillary about love and stuff. This will make their setlist just after American Honey set to different words and music but the same key of D-flat. The second verse adds a new spin by introducing a guy chasing his dreams. The hook (‘Fi-RE! Fi-RE!’) is catchy and the sonic bed appeals to daughters of their target demographic: the 35-54-year-old woman driving a people carrier.
Amy Wadge and Natalie Hemby help the band write Worship What I Hate, an immaculate piano-led ballad with a minute-long outro that begins with Hillary looking in the mirror ‘wishing for a brand new body…seeing every flaw’. This really is new: body positivity and self-empowerment sung with syrupy strings that will certainly find an audience. Verse two introduces red wine and ‘a button on a screen’, forming bad habits. It’s very American, although Ward Thomas have put out a lot of this sort of thing.
Chance of Rain is the rock ballad on the first half of the album, which reminds me of Can’t Stand The Rain (the clue’s in the title). The metaphor here is that you need to embrace the summer even though it might rain. It doesn’t make it any less excellent as an example of contemporary Nashville pop music. It doesn’t sound current, though, which may doom the project in much the same way that Tim McGraw will always be the Live Like You Were Dying guy.
The title track, written by Charles with Ryan Hurd, Laura Veltz and Sam Ellis – a new name to me but he’s worked with Ingrid Andress and Kane Brown – is a songwriting exercise set to a poppy beat. If you have driving, lighters, love, peace of mind, dancing, crying and kissing on your bingo card, have a drink. I wonder if they were tempted to put ‘help us buy a house because that’s what Need You Now allowed us to do’ on the card or in the middle eight. None of these seven songs will make them as much money but good on Big Machine for funding their efforts. They’re great live.