3 Country Bridges From the 1990s That Hit Harder Than the Choruses

Most songwriters put their best stuff into the chorus of a song. However, some writers know the power of a strong bridge. This section of a song is their chance to change the pace. The three ’90s country songs below shine best in their bridges.

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“She’s in Love with the Boy” – Trisha Yearwood

Growing up can obscure some lessons. While a teenage perspective might lead you to think one thing, you often forget that thought once you reach adulthood. It’s a humbling experience we all go through. That’s the crux of the bridge in Trisha Yearwood‘s “She’s in Love With the Boy.”

This entire song plays like a short film, complete with character arcs. While the father character in this story starts opposed to his daughter’s choice in man, he’s reminded by his wife of something he seems to have forgotten: My daddy said “you wasn’t worth a lick” / “When it came to brains, you got the short end of the stick” / “But he was wrong and honey you are too / Katie looks at Tommy like I still look at you.”

This bridge rights all the wrongs in this story. While some cynics might disagree, there is nothing like a happy ending.

“Don’t Take the Girl” – Tim McGraw

Few ’90s country ballads are as devastating as Tim McGraw’s “Don’t Take the Girl.” While the story begins innocently enough with childhood “coodies” getting in the way of a boy-girl friendship, it soon develops into something romantic and lasting.

Like any great country song, this McGraw hit flips the meaning of the title throughout its many choruses. Each time he sings the titular line, it hits a little differently. The bridge is undoubtedly the saddest section of this song, with the main character pleading to God to keep his wife alive. Doctor says, “The baby’s fine / But you’ll have to leave / ‘Cause his mama’s fading fast” / And Johnny hit his knees, the lyrics read. It’s heartbreaking and yet somehow helped make this song an unskippable hit.

“Fancy” – Reba McEntire

Most stories require a nice resolution. Reba McEntire gives her listeners that in the bridge of “Fancy.” While the majority of this cover sees the narrator climb to the top in whatever way she can, she finally reaches her success in the bridge.

Then I got me a Georgia mansion / And an elegant New York townhouse flat / And I ain’t done bad (She ain’t done bad), the lyrics read. It’s a warranted ending to this tale of hard knocks and big rewards.

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