Mississippi native Charlie Worsham played the Grand Ole Opry when he was just 12 years old, shortly after winning a Junior National Banjo Championship. He became an in-demand studio musician and can be heard playing on Eric Church's Chief album. Worsham also opened for Taylor Swift and Miranda Lambert (The former during her 2011 Speak Now Tour). This infectious tune is the first single from his debut album, Rubberband.
Worsham co-wrote the song with Marty Dodson and Ryan Tyndell. He told The Boot that it set the tone for Rubberband. "It was the first thing the three of us ever wrote together," he explained. "Sometimes you get that feeling when you're writing that you've got something. Nine times out of ten, you have no idea, but we knew we had something. This song was like the first piece of the puzzle, and it kicked off the whole deal."
The first instrument that you hear on the song is a slide mandolin, which Worsham told Radio.com creates a sound that he describes as "Ravi Shankar meets Bill Monroe."
Though Worsham is proficient in several instruments, he brought in session veteran Jedd Hughes to pluck the mandolin. "I just know too many badasses that I love being on the playground with," said the singer. "I could have played mandolin on that song, but it wouldn't have been that cool."
The song details the male narrator's relationship with a female buddy, which starts crossing a line into something more than just friendship. Worsham said about the writing of this cut. "The song was written not long after I met Ryan Tyndell, who wrote a lot of the songs with me on Rubberband and also co-produced my album with me," Worsham explained.
"When we first met, Ryan and I were honestly both down in the dumps. I had left a particular situation, and he had left another particular situation, both professionally and personally. I swear we wrote the song out of sheer desperation for something hopeful. We had the first verse and the part of 'Who knows we might go down in flames. But then again I might just change your name,' but we didn't have a title or a chorus. We brought it into a writing session with Marty Dodson, and after a few more hours we had 'Could It Be.'"