Curb recording artist Kelsey Hart is poised to capitalize on the burgeoning success of his latest radio single, "Love to Be That Guy," a track that has already garnered significant positive attention from industry professionals and is now making its mark on country radio. The song, born from a spontaneous songwriting session, has quickly become a focal point for Hart’s career aspirations, with its infectious melody and relatable narrative resonating deeply with listeners and programmers alike.
The Genesis of a Hit: A Last-Minute Recording Session
The journey of "Love to Be That Guy" began with an urgent call from songwriter Taylor Phillips, known for his work on tracks like "Been by Now" and "Woman." Phillips had just finalized the song with a trio of co-writers and recognized its immediate potential, wanting Hart to be the voice behind it. The catch? The song was in high demand, and Phillips wasn’t willing to wait. Hart was given a strict deadline: make his way to Ashley Gorley’s home, a prolific songwriter behind hits like "I Had Some Help" and "World on Fire," that very night to lay down his vocal on the demo. Failure to do so would mean the song would be pitched to other artists.
Hart readily accepted the challenge. "I listened to it a couple times," Hart recalled, "and then went out there and re-sang it." This impromptu, roughly 40-mile drive, coupled with the recording session, demonstrated a significant commitment to a song he had only just heard. Co-writer Brad Clawson, whose credits include "Up Down" and "Wannabe," characterized the situation as "a classic sales pitch," noting Phillips’ strategic use of a deadline to ensure Hart’s immediate involvement.
Crafting the Anthem: A Songwriting Retreat’s Unexpected Gem
"Love to Be That Guy" emerged during a 2024 Tape Room Music writing retreat, an event designed to foster collaboration and creativity among songwriters. Hosted by Gorley, the retreat involved writers breaking into small groups to develop songs, then regrouping with different partners to start anew. It was during one of these dynamic sessions that Phillips, alongside Clawson and Casey Brown, known for "I Am Not Okay" and "Blue Tacoma," stumbled upon a winning combination.
Brown developed an upbeat and inspiring guitar groove, which laid the foundation for the song. As the track took shape, the title "Love to Be That Guy" was discovered on a phone list, and it immediately clicked with the musical direction. Gorley, making a routine check-in, was so impressed by what he heard that he stayed to contribute.
The Power of a Pitch: Lyrical Themes and Relatable Scenarios
The title "Love to Be That Guy" quickly revealed its anthemic potential, serving as the springboard for a chorus that functions as a compelling sales pitch from a male protagonist eager to secure a permanent place in a potential partner’s life. The chorus builds to a clear conclusion, and then introduces a slightly varied, faster-paced section before returning to the initial theme. Phillips observed that Gorley has "made a career out of doing that for a long time," referencing his knack for crafting such memorable hooks.
While the chorus leaves the setting of the budding romance open-ended—acknowledging that connections can form anywhere from picnics to church to dances—the writers initially envisioned a more traditional backdrop. "Everything’s [placed] in a bar, so sometimes it’s fun to just get out of the neon and write a song that could happen at a grocery store, or at a party, or in line at the gas station," Clawson explained. He added that "a lot of love stories do start like that, just randomly out in your day-to-day life, not necessarily in a bar."
However, as the first verse unfolded, the narrative landed firmly in a bar setting. "Yeah, we did," Clawson conceded, "Sometimes it just feels right." The verse meticulously details the protagonist’s observations, from checking for a ring on her finger to noting only one glass at her table, before he decides to make his move. Phillips described the scene: "He’s sitting there just like, ‘Hey, I don’t know what you’re in here for.’ I think it’s just a little conversation, maybe a little college bar, early-20s type thing. You know, like, ‘Hey, you looking for me? Here I am.’"
A Perfect Fit: Hart’s Vision for "Love to Be That Guy"
Phillips had already begun to envision Hart as the ideal performer for "Love to Be That Guy." The two had previously discussed Hart’s musical aspirations, and this song seemed to align perfectly with his desired sound. "I had been trying to write a tempo love song for a while, and I just didn’t feel like we had nailed it yet," Hart shared. He specifically referenced Lee Brice’s "One of Them Girls" as a benchmark for the kind of upbeat love song he was seeking.
The lyrics further solidified the song’s appeal, depicting a protagonist who acknowledges he’s "way out of his league" but still makes his play with "long-shot lines at a small-town dime." Clawson explained that "long-shot lines" referred to his attempts at romantic overtures, while "dime" is slang for a perfect 10, signifying the woman’s exceptional beauty.
From Demo to Studio: Polishing the Standout Single
Brown completed the demo on the same day the song was written, with Gorley providing a placeholder lead vocal. Upon receiving the demo, Hart immediately recognized its potential. "It was that driving tempo thing, and I loved the idea and the hook around the song," he stated. "I was like, ‘Well, that’s as close to what I mentioned as they could get.’"
Once Hart recorded his vocal, the Curb Records team was equally enthusiastic. The official recording took place on September 17, 2024, at the Curb Studio on Music Row, with producer Blake Bollinger, who has worked with artists like Rodney Atkins and LOCASH. Bollinger utilized Brown’s demo as a blueprint, implementing strategic enhancements to enrich the track.
Studio Magic: Orchestrating the Sound of "Love to Be That Guy"
The production of "Love to Be That Guy" involved a meticulous layering of instrumental and vocal elements. Acoustic guitarist Tim Galloway served as the session leader, contributing a driving, almost metallic rhythm that provided a solid foundation. Electric guitarist Justin Ostrander added two interwoven rhythm parts and delivered a solo characterized by a cascading, waterfall-like melody. Steel guitarist Justin Schipper reimagined the demo’s signature lick with an evocative, almost eerie tone, enhanced by eight layered unison voices that created a sense of depth.
Bollinger also encouraged bassist Jimmie Lee Sloas to play a more prominent role, pushing him to deliver a "little something extra" beyond his typically contained style. Bollinger expressed his appreciation for moments where talented musicians like Sloas can showcase their skills with unique riffs.
Following the instrumental sessions, Bollinger added block piano chords to bolster the overall sound and incorporated additional percussion, including subtle beatbox riffs in the second verse that, while not overtly audible, contributed to the song’s feel. Hart then overdubbed his lead vocal and high and low harmonies a few weeks later.
Radio Ready: Garnering Early Support and Anticipation
The song’s potential was further validated in January when Hart presented it to radio programmers at an event in Park City, Utah. The reception was overwhelmingly positive. "That was a standout for a lot of them," Hart reported. "I remember the feedback after coming off the stage that night: There was a bunch of them [saying], ‘Oh, man, when’s ‘Love to Be That Guy’ coming out? We can’t wait to play it.’"
This early endorsement from industry gatekeepers signaled strong potential for radio airplay. Curb Records officially released "Love to Be That Guy" to radio via PlayMPE on August 7, marking the culmination of its creative and production phases. The team is now focused on leveraging this positive momentum to achieve significant chart success.
Industry Impact and Future Prospects
The successful transition of "Love to Be That Guy" from a spontaneous writing session to a radio single highlights the intricate ecosystem of the music industry. Songwriters like Phillips, Clawson, and Brown play a crucial role, not only crafting compelling lyrics and melodies but also actively pitching their creations to artists who can bring them to life. Artists like Hart, in turn, demonstrate a keen ear for material that resonates with their personal brand and the broader market.
The proactive approach taken by Phillips, setting a deadline and ensuring Hart’s immediate involvement, underscores the competitive nature of securing songs for major releases. Furthermore, the collaborative effort in the studio, with producer Bollinger and a team of skilled musicians, showcases the dedication required to transform a promising demo into a polished, radio-ready track.
The positive reception from radio programmers at the Park City event is a significant indicator of the song’s commercial viability. Radio play remains a critical driver for country music artists, influencing chart positions, streaming numbers, and overall artist visibility. The eagerness expressed by programmers to play the song suggests it possesses the qualities—catchy hook, relatable theme, and energetic production—that resonate with country radio audiences.
As "Love to Be That Guy" enters its radio promotion phase, Kelsey Hart and his team at Curb Records are optimistic about its prospects. The song’s strong foundation, built on a collaborative creative process and a compelling narrative, positions it as a potential breakout hit for the artist. The industry will be watching closely to see if this standout track can translate its early buzz into sustained chart success and solidify Hart’s presence in the country music landscape.
