For Nicolle Galyon — a BMI songwriter of the year honoree and co-writer of nine No. 1 country songs, including Miranda Lambert’s “Automatic,” Blake Shelton’s “Minimum …
People know your name and your track record, but not many people have really heard your voice. You had a featured appearance on a song you wrote for Walker Hayes a few years ago, but there’s not much more than that, at least in recent years, is there?” [Galyon was a contestant on that show, as she pondered a singing career], I had a handful of tunes that I released. It wasn’t really a project; it was more me in development, trying to figure out if I was a writer or an artist.
Then once I had the concepts, I thought about, who in my life have I collected as a co-writer that might make sense to write that with? And I truly wrote out a track list and then names — writer credits —beside each song title. And then I started making phone calls to my friends and saying, “Hey, I’m making a record. I have an idea for you. Will you write it with me?” That’s really how I went about it, which is really backwards.
It’s interesting how you sort of came into this in terms of wanting to leave your story behind. Many singer-songwriters write confessional songs, but not that many people are saying, “I created a memoir album.” Oh, yeah. “Automatic” [a single for Miranda Lambert] was that. And “Love Triangle” [recorded by RaeLynn]. I’m not a child of divorce, but I married into a blended family, and that song is very, very personal to me. I don’t think I could have been a co-writer on that song had I not married into the family that I did.
My whole hometown, which is about 2000 people, all feels really connected to the project, because it felt like everyone in town, from the city manager to my next-door neighbor to ex-high school teachers, chipped in to make it all happen. I mean, it’s hard to source things out in rural America, you know? So we were calling favors in, like, can someone find us an old mattress? Can someone find a church pew? So they all feel a sense of ownership over the project, which is really cool.
So what we did was actually rent a tour bus, because we were going to a concert in Lexington, Kentucky anyway, and so I was like, “OK. We’re both used to going out and writing with artists on a bus run. Why don’t we rent a bus just for us and task ourselves with writing this last song for the record?” So it was written in early December as the very last thing, because we turned everything in to be mixed Dec. 17.
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