Ashley McBryde could've made another record of tough and tender country songs, like the ones that established her. But first, she wanted to have fun with the genre's long tradition of character-driven tales.
. McBryde's own catalog has been peppered with memorably earthy personalities from the start, too. She included"Livin' Next to Leroy" on her 2018 major-label debut,, but it got a bit overshadowed by broader fascination with how charismatically the title track reflected her own heroic underdog story.
Sense of place is really important to contemporary country songs, and the writing often puts an idealized gloss on rural or small-town settings. But you've painted a portrait of a place, and people living in it, who aren't exactly upstanding citizens. They're acting up, talking trash; their home lives are in shambles.
I dreamt the beginning of"Gospel Night At The Strip Club," the song idea. I bring that to the retreat and Benjy Davis ends up [recording] the work tape of it. There's nobody that can deliver that the same way as Benjy did. When he says,"Hallelujah" in that first chorus, that very first one, you feel it in your rib cage.
In"The Missed Connection Section of the Lindeville Gazette," we had done a couple of passes and then John comes across the [studio] talkback [system] and says,"Forget everything I said. Everybody overplay for an entire pass." That solo section in that song is one of my favorite things on the record, because you're just listening to the keys player do really cool stuff at the same time that there's slide guitar, or whatever else is happening right there.
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