Music

The Tennessee Titans don’t appear on the NFL’s Sunday Night Football schedule for the entire 2024 season, though Nashville will still be well represented on the NBC telecast.
Not only is Middle Tennessee resident Carrie Underwood the voice and onscreen talent for the theme song, but the music for that high-profile opening — which has its season debut on Sept. 8 — is produced by Nashville’s Chris DeStefano (Chase Rice, Chris Young) using Music City musicians at the Soultrain Sound Studios (formerly Scruggs Sound) in the Berry Hill neighborhood.

It makes sense that the piece gets cut in Nashville — “Underwood, obviously, is one of the biggest determining factors,” SNF creative director Tripp Dixon says — though the recording’s origination in Music City is not particularly well known.

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NBC has, in fact, produced the theme in Nashville for well over a decade. It was already being cut at Starstruck on Music Row when Dixon began working on the theme in 2012, the last year that Faith Hill sang the iconic piece.

And DeStefano has become a key contributor as “Waiting All Day for Sunday Night,” adapted from Joan Jett‘s “I Hate Myself for Loving You,” undergoes an annual evolution within a narrow stylistic window. Its role is to energize home viewers for the last football game of the weekend; thus, a panoply of options is unavailable for the production. It’s a safe bet, for example, that SNF will never open with a slow jam.

“We really want to push that energy without going too far over the top,” DeStefano says.

“But,” he adds, “sometimes we need to go over the top.”

DeStefano landed the job initially because of his success as a songwriter. He’s penned several Underwood hits, including “Good Girl,” “Something in the Water” and “Somethin’ Bad,” a Miranda Lambert duet that emerged as the SNF theme for two years, beginning in 2016, after it was rewritten as “Oh, Sunday Night.” DeStefano was tapped to co-produce with Mark Bright (Underwood, Rascal Flatts), who had already been on the job for several years.

For one year, in 2018, NBC used “Game On” for the open before returning to “Waiting All Day.” Along the way, DeStefano became the sole producer, in part because of his multitude of skills. Co-writers have, for years, marveled at his ability to play multiple instruments and swiftly maneuver plug-in technology to create demos on the fly during sessions. As a one-man shop, he’s able to assist the NBC team in finding a new musical framework each year, develop the demo on his own, then oversee the production when the network executives descend on Nashville for the recordings each summer. It’s a foundational role in the ultimate SNF product.

“A lot of this process does start with the music,” Dixon says. ” ‘Waiting All Day’ has kind of been the bedrock of this piece since the beginning, but I think each one of these successive new arrangements has, in turn, influenced what we do visually. It starts with that musical discussion.”

Those first discussions, DeStefano says, took place last December, when the playoffs were still in flux and Nashvillians were grousing about the Titans’ decline. By January, he was already creating a core demo for the 2024 theme, playing — or programming — all the instruments and recording vocals that would later provide a guide for Underwood, who jointly approves the final creative direction of the package with NBC Sports.

This year, his production experience came into play as he suggested restructuring the theme. It has traditionally started with two verses after a short intro, but DeStefano suggested leading with the chorus, allowing some new dynamic changes. That move alters the peak energy points in the 90-second production, changing the placement of some of the strongest action onscreen.

In the end, artists who’ve played on numerous country hits — such as drummers Nir Z and Miles McPherson, guitarist Rob McNelley and bassist Tim Marks — have been tapped to turn DeStefano’s demos into the master SNF recording. DeStefano still plays a part or two, particularly any tweaks that are necessary in postproduction.

The actual recording session requires plenty of preparation. Underwood invariably gets the basic vocal performance — the “generic,” as the team calls it internally — in a short number of takes. But the generic is only a fail-safe. Sections of the theme are rewritten to reflect the teams or players who will take the field each week, and NBC preps a volume of potential options to cover every scenario. They might, for example, throw in a reference to quarterback Dak Prescott for a Dallas Cowboys game, but they also record one or more backup options in case he’s injured when game day arrives.

Complicating the process, the NFL uses flex scheduling beginning in October, meaning the Sunday-night game could change in 14 of the season’s 18 weeks. They compile options to cover every scenario, and Underwood sings through them all in one massive session.

“I actually couldn’t even tell you how many iterations of the matchups there are,” DeStefano says. “There’s a lot. It’s like three typed pages, so there’s quite a bit, but it goes so fast, just because we get into the zone. Carrie’s in the zone, and everybody’s locked in. We just crush it.”

As a result, they avoid any need for a midseason overdub — even if the game gets changed during a flex week and features two teams whose biggest stars are out for the season.

In every one of those versions, it’s the Nashville music team’s job to get the viewers excited.

“It’s got to still make people turn their heads,” DeStefano says. “If they’re at a bar and it’s loud, there’s still got to be that element of ‘Oh, wait. What’s happening? I got to watch this.’”

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