The ’90s were a special time for country music. Artists like Shania Twain and Faith Hill were finding success on a global scale, breaking through the barrier of the genre. Though country music might be primed and ready for another ruling decade, the nostalgia that ’90s country drums up is unparalleled and thus will always create a soft spot in the hearts of country fans.
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While much of that ’90s sound is confined to the era, there are a few artists still touting the merits of a classic shuffle and a deep-seated twang. Among that pack is Joe Nichols.
Nichols got his start in the late ’90s with his self-titled, debut album and has since earned three No. 1 hits on Billboard‘s Hot Country chart: “Gimme That Girl,” “Brokenheartsville,” and “Tequila Makes Her Clothes Fall Off.” He’s also amassed five chart toppers on the publication’s Country Airplay chart.
Throughout his tenure in the music industry, Nichols hasn’t lost one ounce of that classic sound he honed at the beginning of his career. His latest record, Good Day for Living, is the perfect mix of his older sensibilities and garnishes of more modern sounds.
Nichols recently chatted with American Songwriter about the project, the pressure to adhere to current trends, and the differences between making music in the ’90s and 2023. Check out our conversation below.
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American Songwriter: Good Day for Living has been out for a while now. How has the reaction to the project been so far?
Joe Nichols: I love the critical acclaim. I’ve always loved getting good reviews. They are usually a good barometer for how people are generally going to feel about an album. When people started to review it, it felt really good that they were noticing some of the intentional moments. [This album] wasn’t just about finding hits and putting radio stuff together. I’m glad people recognize the depth of the album.
It’s hard to tell where to put this album compared to all the albums I’ve made until I can look back on it – until there has been some time. It will take some time for me to understand how good this album is compared to [my past work] but, I know we put a lot of blood, sweat, and tears into it. At the end of the day, this album was done as well as we could do it.
AS: How would you describe the sound of Good Day for Living?
JN: First of all, it’s true to me. I’m not stretching to try and find a sound that fits in today. It’s staying true to what you would expect from me.
AS: Is there ever any pressure to find a sound that fits in better with the country scene today?
JN: There has been pressure ever since I started to weave in and out of current trends. We’ve done that a couple of times, with some success. Now, it’s dangerous territory to do traditional stuff. The way we always look at it is, if we go into the studio with something [very] pop or rock sounding then our philosophy is that my voice will bring it back.
It’s been hard over the years to avoid the temptation of trying to fit in with what is current. There’s a lot of success [in that] out there, but it drives you into competing with other artists. I hate being in that mode. It’s not productive. I’d rather just stay true to myself.
AS: Are there any major differences in how you approached the making of Good Day for Living as opposed to your past work? Did you find yourself to be more confident going into this project, now with 10 albums under your belt?
JN: I was confident in the people that were on my side. Benny Brown [label head] has been an amazing person in my life. My producers are phenomenal producers that know what they’re doing, so I was confident in them.
I was overjoyed to start the album process again. I had a divorce with my previous record label and that left me wondering what was next. Luckily, there were people in this business that believe in what I do and are willing to stand by me. That gave me confidence.
But, I wouldn’t say that when I’m walking into the production of an album I’m ever filled with giant confidence, really. It’s just such a tender process. So [I felt] competence in some ways, and humility in a lot of other ways.
AS: Can you talk about “Brokenhearted,” and what that song means to you?
JN: When I first heard it, I was coming off of an airplane. Benny Brown sent it to me in a four-word email saying, “What do you think?” I heard and said, “Boy that is fun.” It was country but, it also sounded like a country hit – those are two different things. You can cut a country song and know it will never find a place on the radio, but this was a different kind of song. It’s modern and fun.
AS: You and Blake Shelton have a long history together. What made you record “I Got Friends That Do” together?
JN: Well, honestly, I thought his career was in a rut and he needed the help from me really, to revitalize his career…No, you know, that was one of those, “a friend doing an old friend a solid” kind of thing. I had this fun song and thought it might be a good choice for a single. I called Blake to see if he was interested and he immediately responded [with a yes]. He went right into the studio and killed it. I wish that song would’ve been a single. It was a cool moment on the record.
AS: What would you say is the biggest difference between making music in 2023 and how things worked when you were first starting out?
JN: In the ’90s, there were a gazillion successful artists out there. Everyone was coming out with a new record and lots of people were finding success. Today, there are only a handful that break through. Back then, you had the George Straits and the Alan Jacksons, but there were also artists that came out of nowhere and just crushed it with a No. 1 song. I just remember that it was such a fun time because everyone was enjoying success. And the fans were so dug in and interested in country music. It was fun to watch the genre explode like that.
Photo credit: Ford Fairchild / Courtesy Monarch Publicity
