Country

Want to ruin a friendship? Just tell your bestie that you don’t like the person they’re dating.
Most people learn that lesson the hard way somewhere in their teens or 20s. And Broken Bow artist Lanie Gardner, by writing “Buzzkill” about a guy’s difficult girlfriend, has discovered that saying it in a song can create the same negative outcome.

“I guess he still had some sort of feelings for this girl, so before it ever came out, it ended a friendship with him,” Gardner recalls.

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Oddly enough, the guy misread the song’s story. “Once he left that girl, the new girl – he thought it was about her,” Gardner continues. “When he left that [new] girl, it kind of revived a friendship. But it was just funny how that song has caused some ripples in real life.”

“Buzzkill” is the product of a writing session on Jan. 30, 2024, at the East Nashville home of writer-producers Katie Cecil and Chris Ganoudis. It was only the second time they’d collaborated; their first co-write had produced an emotionally dramatic piece, and they wanted to explore something different in their follow-up session. As they settled in with conversation, Gardner confessed her annoyance about a woman whose attachment to another friend had become an intrusion on her crew.

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“Literally, we would all be having fun, you know, out and drinking, and she would come around and she would start fights and mess with him the whole day,” Gardner says. “I just remember thinking, ‘Man, what a buzzkill.’”

Gardner hadn’t intended to build a song around the situation, but when she introduced that “buzzkill” phrase into the conversation, it made an immediate impression. “I was like, ‘Let me write that down,’” Cecil says. “You know, sometimes you kind of catch the title in the middle of someone’s venting session.”

The scenario had comedic possibilities, so Ganoudis developed a fast-paced mix of acoustic guitar rhythms and programmed 808 bass drum. It felt a little like rockabilly and a lot like the energy of KT Tunstall’s “Black Horse and the Cherry Tree,” and the track set an atmosphere that encouraged cheeky observation. The woman is portrayed derisively in the song’s opening salvos as a “Barbie doll, show stopper, beauty queen” and a condescending “Miss Hollywood takin’ over Tennessee.” Cecil and Ganoudis relocated from California about four years ago, and exaggerating about the women in the story came naturally.

“For lyrical purposes, you kind of have to make things the most dramatic version of themselves, to make it fun to sing and to drive the point home,” Cecil says. “So we were comparing this girl to the most insufferable L.A.-type girl you might come across who’s moved to Nashville but clearly just doesn’t fit in.”

Unlike Gardner and the “Buzzkill” woman, Gardner and Cecil worked well together, hunkering down on the song’s spirited lyrics. Ganoudis pulled on headphones and focused on the track separately, building the verses in a minor key and the chorus in a parallel major.

“You can’t sing the verse melodies over the chorus, or chorus melodies over the verse,” Ganoudis says.That brighter-sounding chorus allowed for more acerbic talk, and the protagonist insists on giving her friend an honest assessment of his girl: “They ain’t gonna say it but you bet your ass I will/ Yeah, buddy, she’s a buzzkill.”

“It’s not good to hate on people,” Gardner observes, “but it’s sometimes good to maybe call certain actions out.”

When they finished writing “Buzzkill,” Ganoudis supplied a track with plenty of energy, created by a spare number of instruments. But those sounds were routinely fattened, making the day’s production sound larger. “I’m really kind of minimalist in in my approach a lot of the times,” Ganoudis notes. “It’s just maximizing each one of those parts, so having less parts that do more, so that the bass is saturated in a way to make it take up the room that I want it to take up.”

Gardner laid down a vocal for it, caught up in the story’s surly sarcasm. “We did go back in and tighten some things up, but we were just such in a zone with ‘Buzzkill’ the day we wrote it, we didn’t have to recut the vocals again,” Gardner says.

Ganoudis took his time finishing the demo, turning it on Feb. 12 once he felt it was good enough to compete with anything else Gardner might be considering.

“When the labels are hearing it and the management’s hearing it, that’s a reflection of what we do,” Cecil explains. “That’s always good to get it sounding where we feel super confident that it will be a contender for a release.”

Ganoudis filled “Buzzkill” out further, playing nearly all the instruments on his own, while creating a framework with some intentional, built-in contrast.

“It’s kind of like a middle-up, middle-down approach,” he says. “The middle-down frequency spectrum of the track is pretty pop, you know. It’s got 808, it’s got a sample kick [drum] – like, there’s no live drummer on this thing. But then the top up is pretty honky tonk. That’s all live, you know. There’s no programming on the top up, with the guitars, and there’s some steel and all that.”

Ganoudis hired guitarist Gideon Boley to rip a fierce solo in the middle of the production, and Gardner returned to stack some tight harmonies on top of her original vocal. She threw in a bundle of ad-libs, too, including an off-the-cuff “one more for the people in the back” that adds to the glibness of the performance.

“That’s honestly one of my favorite parts of the song,” Cecil says. “I was like, ‘We gotta put that in there.’”SiriusXM picked it up, German choreographer Sascha Wolf developed a linedance for it, and Jonathan Craig produced a pool-hall video, released Feb. 3, that plays up the out-of-place snobbery of the buzzkill girlfriend. And just in case country broadcasters decide “Buzzkill” can aid their undying desire for more uptempo singles, Ganoudis fashioned a radio edit that replaces the “ass” reference in the chorus with a sneaky “whoop!”

Meanwhile, the friendship that “Buzzkill” killed appears to have survived, in part because the friend’s second relationship did not.

“All of a sudden,” Gardner says with a laugh, “we’re friends again.”