I usually don’t do single “single” reviews (meaning a current radio song featured in its own individual entry), but I felt inspired to do one tonight. When I was on iTunes about a week ago, I was glancing through the new country releases. None of them really stood out to me a whole lot, so I figured I’d listen to one of the new ones that I had never heard of. Once I pressed play to this new song, I was quickly drawn to how catchy it was, and what a good find it turned out to be. Later on, I downloaded it from Amazon (gottsa have the MP3!) and I am happy with my decision.
“Red Light”, the current (third) single from newcomer, David Nail, is a fine example of what good mainstream, contemporary poppy country can be. Some may disagree and be quick to write him off as just another pretty boy trying to make it in country by singing slick material, but I don’t think he is. I’m not sure what his other material sounds like, so I will not be quick to label him as anything yet, but he has potential and this single is really cool (Nail, please, don’t make me look bad lol. Don’t become a Rascal Flatts, etc.-wannabe… although this acoustic performance video of a different song, “Here In Misery (Missouri)” shows otherwise – he does have talent.).
It says something I have never heard in a song (well, there are different variants of it, of course, but I can’t think of one like this, at the moment): it’s about the moment when his girl told him it’s all over when they’re stopped at a red light in the sunshine, and how it hit him hard, and unexpectedly, because it was not the typical setting or environment for such a blow (there is a time and place, c’mon). Just imagine a seemingly normal, nice Sunday out on a cruise with your companion and then all of a sudden, getting blown away with that kinda news – there’s a huge visual contrast between what’s going on outside in the car and inside your heart when you get that news. Like a car crash that physically didn’t happen but you’re feeling it internally, anyway.
I think the song captures that moment and feelings really well, and Nail’s vocals are sincere and invoke that heartbroken, world-crashing-down mood this type of song needs. The production accompanies his voice and the lyrics like it should (Frank Liddell, Miranda Lambert‘s producer, might have produced it, it looks like). I really do feel bad for him, and if a song can make me feel like that, it’s good. I can somewhat relate to that sinking feeling, but won’t get into that.
I definitely am interested to see what else he puts out, and hope this song serves as a platform for a quality-heavy career.