Song Analysis: May We All – Florida Georgia Line

May We All is the second single off Florida Georgia Line’s new album Dig Your Roots, and a solid song.

I wasn’t particularly impressed with this album’s first single, H.O.L.Y. The gents at FGL are great vocalists, which if you didn’t know it before this song, is evident right from the first verse – despite and not because of all the auto tuning. But even in the context of professing love with religious metaphor – some of which lines are not bad, though also not original – the vocal effort and range seem out of place and at times ham-handed especially because of the auto-tuning and especially in the chorus (i.e. the “H.O.L.Y” aka “high on loving you”). There is something to be said for FGL’s change of pace in the song itself and in the act of releasing this as the first song off their new album. It is a new direction for FGL, one that feels more like adult contemporary than country, but on the other hand it doesn’t mention Fireball and avoids bro-country cliché. At the end of the day I think the OK lyrics of the verses and FGL’s vocal displays are undermined by the self-importance of the song, particularly of the choruses, and the vocal processing.

Turning back to the song at hand, for important starters this song rings true as sung by FGL, which means something for any song not written by the artists themselves but particularly so for a song like this which is so nostalgic. By contrast Luke Bryan, one of the singers the primary writer Rodney Clawson initially considered for the song (i.e. as a potential purchaser), would not have been as good a fit at this point in his career. Maybe after Bryan co-wrote the small-town great Rain Is a Good Thing, but as Bryan’s career has staked claimed firmly in bro-country, I think this song would have come off as pandering rather than genuinely wistful.

The nostalgia hits home right from the start of the song with the prayerful “May we all” introducing the thesis of the song: getting to grow up in “our red, white and blue little town”. Most of the lyrics in this song are good, to just take a look at the annotated chorus:

May we all know that nothing ain’t cool ‘til you wear the new [off] [A few of the lyrics sites I’ve found online hear the last word of this line as “one”, an oversight that sorely misses any message at all that this song has. But the line itself hits the old is good motif and converse repudiation of all things new being automatically better pairing nicely with the overall nostalgia of the song.]

The sound of a quarter rollin’ down a jukebox [This is probably the best line in the song – we can all remember those diner/ bar jukeboxes (even as we listen to this song on our phones) and what a great auditory image. It’s not the jukebox itself or even the song playing out of it, but the sound of coin clink chunking its way down the coin slot.]

Play the Travis Tritt right above the Tupac [Here I visualized the flipbook pages of that diner jukebox where 8 or so tracks were listed vertically with the corresponding entry numbers next to each selection and making the selection for Tritt, which happened to be located alphabetically above Tupac (with Tupac mentioned for timing/ generational context). In an interview with Tyler Hubbard he suggested this was a throwback to the sort of diverse combination of music CDs he had at that age. Notwithstanding hardcore country fans’ sure objections to this reference, I say I don’t love it but fine. The reference to Tritt is a solid musical inspirational throwback on its own.]

[Before] you get lost down some road [Note: most of the lyrics I see online hear the first word here as hope, but I hear this as “before” which I think is better. In either event ain’t no hurry to get anywhere, it’s just driving for the sake of driving, this guy imagines perhaps with some friends from the jukebox diner in the back seat and then of course the girl riding shotgun mentioned a couple lines later.]

Slow rolling with the top off the back of a Bronco [Still no hurry to get anywhere, in contrast to the fast-paced big city or modern world. And despite use of the term “slow rolling” I don’t think we have a bro-country hook here.]

Buy a cold sixer with a cashed-in lotto [Again I think this steers clear of introducing any bro-country, just the solid enjoyment of a good six pack on a couple fortuitous extra dollars.]

She’s smilin’ with her hair blowing out the window [Some pleasant summertime happiness and carefreeness here, always good.]

Where you ‘bout to go? Yeah, you learn to fly and if you can’t then you just free fall [Here, I get a little lost. I don’t understand what this line adds to the song. It’s hard to think of freefalling without Tom Petty coming to mind but this doesn’t seem to be a reference, and in general I don’t appreciate the link to the rest of the song. But I don’t think this lack of apparent synchronicity does lasting damage to the song, and of course it’s a nice slow rhyme back to May we all.]

To focus in on a few more lyrics:

Coming in after the opening line of RW&B little town, “Kinda place you can’t wait to leave but nobody does/ ‘cause you miss it too much” is a nice lyric encapsulating the tension explored in so many country songs between hometown love, growing up and nostalgia versus the desire to leave and explore for bigger better things.

May we all do a little bit better than the first time / Learn a little something from the worst times / Get a little stronger from the hurt times
May we all get to have a chance to ride the fast one / Walk away wiser when we crashed one / Keep hoping that the best one is the last one

These lyrics are OK. The tone with which they are delivered suggests there is something meaningful behind the lyrics. Interpreted in the context of the music video as about a car race and attendant literal crash they certainly don’t mean anything and I think trivialize what in the generality of the lyrics could be interpreted as significant. The generality of the lyrics by themselves at least admit of the opportunity for the listener, having just been made nostalgic for their hometown or other small town America, to graft their own experiences onto doing better than the first time, learning from the worst times, etc. The lyrics themselves (i.e. out of context) are nice. The trajectory of the song could have culminated in the nostalgic narrator returning to the small town he was once ambivalent about with wife and 2.1 &c. Or we could have just had another catchy verse about small town America and left it at that, without trying to overreach and make the song about more than face value. But as is, I don’t see a link here to the rest of the song and so am a bit frustrated at the apparent intention to impart a message without giving it substance.

This song is most successful where, and because generally, it doesn’t try to do too much. When the song embraces nostalgic references, it does so in just the right way. Most of the song is content being about nostalgia for nice small town America, and it does so simply and without pretension, by listing nice small town Americana. Listing things can make for a good song (see, e.g. I Love this Life). The pace of the song is really nice. The verses are a bit slower then the chorus picks up the tempo so that the rhymes rhyme perfectly and segue one into another. The bass line of the choruses avoids being oppressive and combined with the catchy rhyme scheme reaches just the right head bob along level. May We All doesn’t have the sustained catchiness of Cruise or achieve the significance of message of Dirt, but it finds a satisfactory home somewhere between the two.

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