‘I Just Killed a Man’: Catie Offerman Brings a Mystery to Programmers

When Catie Offerman performed for programmers during Country Radio Seminar on March 14, she provided the Ryman Auditorium audience a mystery worth unwrapping.

Offerman announced her first radio single would be “I Just Killed a Man,” then launched into a slowly unfolding storyline full of dark imagery and phrases: Cops, chalk outlines, a getaway car and a guy begging for mercy in the driveway. The story was spellbinding; Offerman delivered it with a clear, inviting tone; and it was easy to ponder even as she performed it: “Really? Her first radio single is going to be a murder ballad?”

But after two full verses and two choruses, the bridge shook up the plot: “Just because it ain’t a crime/Don’t mean I won’t be doing time.” More pondering: “How can a murder not be a crime? Oh, it’s not a murder. This song is awesome!”

That’s generally the way people react to “I Just Killed a Man,” though not everybody needs two minutes or so to figure out that the song isn’t quite what the title implies. “I say the name of it, all the women think it’s about killing their ex-boyfriend — I think they get all giddy about it for a second,” Offerman says. “It ain’t about murder, but I’ve never heard heartbreak talked about this way before.”

Circumstances lined up nicely for “I Just Killed a Man,” a title that emerged before the final day of a songwriting camp in Nashville last August that had a handful of composers focused specifically on material for Offerman. At the end of the day’s work on Aug. 9, two of the writers — Ryan Beaver (“Party Mode”) and Joe Clemmons (“Rose Needs a Jack”) — hung out at Beaver’s place to brainstorm for the next day. They flipped on the TV, and the Netflix menu fortuitously promoted a series that debuted that same day: I Just Killed My Dad. A couple of word changes and “I Just Killed a Man” led them down a creative road that compares a breakup to a murder.

“We just started throwing lines back and forth, not co-writing, but just nonchalant,” recalls Clemmons. “You know — ‘They won’t lock me up for this one’ – playing with the metaphor.”

Beaver called his neighbor — songwriter Jessie Jo Dillon (“Memory Lane,” “Break Up in the End”), who was also part of the Offerman camp – and clued her in. And when they arrived the next morning, it wasn’t long before they shared the concept with Offerman and songwriter Benjy Davis (“Made for You”). Clemmons broke into a progression on guitar with and came up with a signature instrumental lick at the same time, and everyone pitched in. 

“Catie started singing the chorus melody,” Beaver remembers. “It was such a collaborative effort. Benjy was such a great editor and writer that day; Joe was great. I mean, it’s really rare to feel that way because you sort of feel like you need a leader, or somebody has a better vision, and then the others are helping fulfill that. But not that day. This was a day where everybody was firing.”

“It was one of those days,” adds Dillon, “where you feel like you’re almost getting it from somewhere else.”

They wrote it in 6/8, an alternative to the typical 4/4 time signature. While it’s not the usual framework, it has undergirded such stalwart titles as Keith Urban’s “Blue Ain’t Your Color,” Chris Stapleton’s “Tennessee Whiskey” and Jason Aldean’s “You Make It Easy.”

“I Just Killed a Man” “reminds me of [Little Big Town’s] ‘Girl Crush’ in a way,” Offerman says, citing another 6/8 predecessor. “The subject matter, you’re kind of like, ‘Whoa, what’s going on here?’ And then you just can’t help but being soaked up in the feeling of the tune.”

The metaphor in “I Just Killed a Man” works in great part because songs typically treat the person who ended a relationship as a villain. But verse two cast both people in the breakup as victims of the situation. Still, it’s easy to picture the stanza as a confession in an interrogation room. “Jessie pretty much wrote the whole second verse by herself,” says Clemmons. “Obviously we’re all helping and everything, but she had that line, ‘Tonight it’s just whiskey and guilt on the rocks.’ And that is such a Jessie Jo Dillon line. I’m pretty sure she spit that whole thing out.”

As fluid as the writing session was, “I Just Killed a Man” ended up running long. Davis was key in trimming the excess. “At some point, we were messing with some kind of pre-chorus, and I remember really liking what it said,” Dillon notes. “But it was one of those things that I think happens in songs sometimes where you kind of have to — no pun intended — kill off your favorite character, because it just felt so good to go into the chorus as quick as we did.”

Beaver and Clemmons wasted no time working up a demo that night at Beaver’s home. The recording laid out a strong map for the final product, kept musically lean. “I’m in a two-bedroom, two-bath, little condo, and one of the rooms is just set up for music gear and recording,” says Beaver. “Joe and I kept it really simple. I was like, ‘Man, this just needs to be about this story. It needs to be about this vocal.’ ”

That made it a difficult piece to get right when Offerman and producer Dann Huff (Kane Brown, Brantley Gilbert) cut it at Nashville’s Blackbird Studios. Two electric guitars played the instrumental signature lick in unison an octave apart, but even as they tried to minimize distractions from the melody and plot, the track was still too busy. “This kind of song, you can screw it up just because it’s a whisper,” Huff says. “There’s no grandstanding.”

They later went through a couple rounds of cuts in the production, muting instruments to give space for the story to fully resonate. Offerman recorded her final vocal at Huff’s home studio, singing it several days in a row among a batch of songs. Each day, she became a little more relaxed with the process and a little more in touch with the piece’s emotional subtleties.

“Some singers try to over-emote, overtell a story, overact,” says Huff. “In this one, I vaguely remember us speaking about the fact that there needs to be an air of desperation, a quiet desperation. Not overly dramatic — that spoils the story. It’s just that ache and the resolve to the emotional part of the lyric.”

Offerman and her creative associates were all pleasantly surprised when MCA Nashville chose the 6/8 ballad with murderous allusions as her first radio single, releasing it via PlayMPE on May 8. Based on the reaction she received at the Country Radio Seminar show, she’s bound at the very least to grab programmers’ attention.

“When you send them a text, or a message in their inbox, that says ‘I Just Killed a Man,’ you know at least they’re going to listen,” she reasons. “That is a cool thing about this title. I think it intrigues people, and I think it makes them want to listen because what other song have you ever heard called, ‘I Just Killed a Man’?”  

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