Jordan Davis on the country hit he can’t believe he didn’t write

by

It never takes long when you’re listening to country radio to hear a song by Jordan Davis.

This singer-songwriter from Shreveport, Louisiana has achieved significant success since 2017, with ten songs charting on Billboard’s Country Airplay. Remarkably, five of these reached the top spot, and none ever fell below number seven. Some of his most popular songs include “Buy Dirt,” named Country Music Association’s Song of the Year in 2022, and “Next Thing You Know,” which received the same honor from the Academy of Country Music in 2024. His newest hit, “Bar None,” is a catchy song about having a good time, playfully describing a night of revelry.

Davis’s music is successful because it fits well with almost anything you hear on the radio – it’s complex but catchy, playful yet meaningful, and while it follows traditional song structures, it also includes modern, appealing elements. His latest album, “Learn the Hard Way,” shows he understands what audiences want. However, his unique, personal songwriting style is also inspired by his idol, John Prine, whom he considers the greatest songwriter of all time.

I had the chance to chat with Davis, who’s 37, over drinks at the Sunset Marquis. We were talking before his show at the Greek Theatre on Thursday night – it was great to hear his thoughts!

×

You started your new album with the word “ultimatum” – that’s a pretty unusual choice for a song lyric! I actually have a running list of words I’d like to incorporate into my songs someday.

“Vandal” is another example. I actually got that idea from the University of Idaho – their sports teams are called the Vandals. We were driving through Idaho one day and I saw a sign that said “Vandal Country.” I held onto that image for a long time, and later, when we were writing the song “Memory Don’t Mess Around,” it inspired the line, “Stole every bit of my moving-on like a vandal.”

I really appreciate a well-used gerund! Songwriting basically involves carefully examining words and finding more interesting ways to express ideas.

You instantly recognize those kinds of bleak statements, right? They’re often really depressing. I once asked a bartender how he was doing, and he said, “I don’t know if I’m living longer or just waiting to die.” It really struck me – I immediately wrote it down, but I’ve tried to use it in songs so many times and it always gets rejected. Whenever I suggest it, the reaction is always the same: “I can’t use that right now.”

Your song “Mess With Missing You” references Keith Whitley, and there’s been a lot of attention on him lately with Morgan Wallen sampling his song and Blake Shelton planning a documentary about his life. What’s driving this renewed interest in Whitley? Simply put, he’s considered the greatest singer in country music.

So, about Stapleton… everyone knows he’s incredibly talented. Personally, I really admire his voice – it’s just so clear and strong. He’s also a fantastic songwriter. I’ve been a fan for a long time, and it all started with my dad. He always played artists like Whitley, Kristofferson, Prine, and Jim Croce in the car, and that’s how I discovered them.

Morgan Wallen’s new song has upset some people, but he likely anticipated that reaction. I always remind folks that Keith Whitley’s original recording of “Miami, My Amy” is still available. Personally, I enjoy Wallen’s take on the song and appreciate how he’s incorporated elements of the original.

Is there any song you consider too special to ever use parts of in another song? I don’t think there is. Even a classic like “He Stopped Loving Her Today” – I’d be excited to hear someone reimagine it with a new spin.

Review

Neil Young brings his hits — and his worries — to the Hollywood Bowl

The 79-year-old rock icon finished a tour with his band, the Chrome Hearts, with a final show in Los Angeles on Monday.

“Mess With Missing You” is a duet with Carly Pearce. I knew she’d be perfect for the song because I’ve known her since I first moved to Nashville – we traveled in similar circles. I was immediately struck by her incredible voice, and it remains one of my favorites even now.

You began your career writing songs for other artists. Do you ever find yourself still influenced by specific singers when you write? I’m a big Tom Petty fan – we’ve covered his song ‘You Wreck Me’ many times – and ‘Turn This Truck Around’ was definitely inspired by his style. However, I don’t approach songwriting now like I did when I first moved to Nashville, trying to write songs specifically for artists like Brad Paisley or Eric Church.

I don’t think those songs turned out very well-they never even recorded them! I started writing better songs when I stopped trying to force a certain style and just let the music flow naturally. That’s how I wrote “Slow Dance in a Parking Lot,” though someone told me it was too wordy.

Successful Nashville songwriters who write for other artists often have a knack for crafting songs that resonate with a wider audience. While networking can play a role, the main difference is simply songwriting skill. I readily admit there are at least ten songwriters who are better at their craft than I am.

I need one! Hardy is incredibly talented. I think Jonathan Singleton and Casey Beathard, along with Tom Douglas, are all better songwriters than me, and honestly, I’m glad. When I get to collaborate with them, it’s exciting – I feel that nervous energy knowing I’m working with someone really special.

Nashville’s rising stars are increasingly writing or co-writing their own songs, a shift from the past. With social media, artists can no longer disconnect from fans between albums. Today’s audiences value honesty and authenticity, and artists need to connect with them personally to build genuine relationships – no one can represent their story better than themselves.

I noticed the album has a few songs you didn’t actually write, and that’s totally fine! Honestly, the idea that anyone could write seventeen amazing songs in just two years – especially in a place like Nashville – just doesn’t seem realistic. It’s cool to be honest about that.

I was really excited about a song called “Bar None” – it was written by Ben Johnson, Lydia Vaughan, and Hunter Phelps. I was wondering why you decided not to include it on the album. I honestly couldn’t stop playing it. I listened to it repeatedly the night I first heard it, and then again the next morning. I immediately called my team and insisted we record it right away, because I knew someone else would if we didn’t act fast.

It sounds like you need to relocate quickly. And that line – “You and your memory, 1 / Me and this bar, none” – is brilliant! I’ve been working here for a decade, and I can’t believe I never thought of that.

Read More

2025-09-18 13:38