End of the End of the World

We all have days when we could use a good-humored song with a classic feel. If that’s you today, I recommend “End of the End of the World,” written by Adam Wright, which fits that bill with playful perfection. As the title suggests, it takes a run-of-the-mill phrase, end of the world, and gives it a fun and happy twist. 

Recorded first by country artist Lee Ann Womack (2017, ATO Records), the song was also recorded by Wright himself as a bluegrass single (2021, Melton & Miller Music). It spent multiple weeks on the Bluegrass Today Weekly Airplay Chart, peaking at #3. 

“The first time I heard ‘End of the End of the World,’ it felt instantly familiar,” said Milan Miller, who had the idea to record the song in a bluegrass style. “It’s the kind of song that has no reliance on trends or a specific genre, one that would feel equally at home being delivered by Bill Monroe or Frank Sinatra. That’s a near impossible feat to pull off as a songwriter, but a clear illustration of the talents of Adam Wright.”

Wright is a two-time Grammy-nominated singer, songwriter, musician, and producer who writes for the publisher Carnival Music. A songwriter since his teens and a professional one for close to two decades, Wright has earned extensive credits in the country/Americana world, where Womack, Alan Jackson, Trisha Yearwood, Robert Earl Keen, Bruce Robison and others have recorded his songs. 

A go-to writer in the bluegrass world as well, Wright has penned songs for Russell Moore and IIIrd Tyme Out, Special Consensus, Balsam Range  and Lonesome River Band. Cuts by the latter two earned IBMA Song of the Year nominations in 2016 (“Thunder and Lightning,” recorded by Lonesome River Band) and 2019 (“The Girl Who Invented the Wheel,” cowritten with wife Shannon Wright and recorded by Balsam Range). Wright also produced Jackson’s critically acclaimed The Bluegrass Album (2013), which included Wright’s songs “Ain’t Got Trouble Now” and “Knew All Along,” also with Shannon Wright. 

Another song original to Wright, “The Rambler,” was recorded by Balsam Range and featured Darren Nicholson on lead vocals. The song was picked up for the Netflix series, “The Ranch,” and became a nightly request at shows. “Adam’s writing comes from such a unique perspective,” noted Nicholson. “I mean, I write songs, too, but when I see and hear his music, I think, ‘Why didn’t I think of that?’ He’s one of my favorite discoveries in the last 10 years as far as music goes, and he’s a sweetheart of a guy. I can’t say enough good about him. If he does a hip hop record, I’ll buy that, too, and it’ll be good.” 

“A little bit throwback” … the Structure and Inspiration  

Originally written in a slower style, “End of the End” came about on an atypical day in the office, one in which Wright didn’t have a cowrite scheduled. Working alone and with no one specific to write for, he found himself thinking about a voice he’s a fan of – that of Chris Stapleton – and pondering what kind of song he’d like to hear Stapleton sing. “I know Chris, but I don’t have his number, so it was just an experiment,” smiled Wright, “but oddly enough, that’s how the song was born.”

Of the simple, traditional elements that came together to form the song, Wright added, “It’s a little bit throwback, especially since it wasn’t written as a bluegrass song. I didn’t reinvent the wheel on it. I’m such a fan of folk and roots music that that can be a default setting for me. I have heady, obtuse songs, and I like those, too, but ‘End of the End’ isn’t like that. It’s just a playful hook. I’m a big Roger Miller fan, and it has that type of wordplay. I’m not putting my song in his category, but it grows out of my love for that type of songwriting.”

Wright’s handling of the hook was simply genius, according to friend and frequent cowriter Adam Chaffins. “The end of the end of the world … it’s a simple line, but so profound,” said Chaffins. “It’s one thing to have a hook, but the phrasing – how it lands – is what matters. Adam’s just the best at the setup to the hook, and adding to his ability as a writer, he’s a great instrumentalist. He checks all the boxes as a musician.”

After writing the song, Wright sent it to Womack, who was working on a record at the time. “Of course, she sounds great singing it,” he said of her bluesy waltz version. “If you were to hear her version from a distance without the words, it might sound more like a lament (than my bluegrass version), which is funny because the phrase ‘end of the world’ is such a downer, but this guy (in the song) … things have really turned around for him.” 

Both Chaffins and his wife, outlaw country/Americana artist Brit Taylor, have recorded songs cowritten with Wright, and they deeply respect their friend’s keen songwriting abilities. Her first cowrite with Wright became the title track to Taylor’s 2020 album, Kentucky Blue (also written with Kimberly Kelly). Explaining why she enjoys cowriting with Wright, she said, “I think, I hope it’s changing, but it’s been a trend in Nashville to write ‘the highlight reel’ of life. With the influence of social media, so many writers are writing from a 23-year-old perspective, but Adam’s not afraid to write about real, adult-life things because that’s what he is and what I am. I’m grateful for that.”

“A hefty bit quicker” … More on the Bluegrass Cut

When Miller approached Wright about cutting “End of the End” as an up-tempo waltz, with “triple fiddles and all the trimmings,” Wright was excited to try it and joked, “I’m such a fan of bluegrass and particularly of Milan and Buddy that of course I wanted to do that. The funny thing about cutting songs for Milan and bluegrass is that I’m kind of lazy, so everything’s a lazy tempo, but usually when they cut stuff, it’s a hefty bit quicker than how I would normally sing it and usually a little bit higher!”  

The speed of the song worked out well and brought about another change in the bluegrass version, the chorus. “Originally, what is now the chorus was written to be sung once, more as a bridge,” said Wright, “but the song goes by so fast, and Milan had the idea to repeat that as a chorus.”

Wright couldn’t have been more pleased with how the song came out. “What a crackerjack band,” he said of Tim Crouch (fiddles), Seth Taylor (banjo, mandolin), Buddy Melton (bass, tenor vocals) and Miller (guitar, baritone vocals). “Seriously, these are some of the greatest musicians around. I fell head-over-heels for Tim Crouch when we were working on Alan Jackson’s bluegrass album. Milan and I go way back, and he’s been a hot player since the get go. It’s been fantastic to see him become such a great songwriter as well. He introduced me to Buddy and Seth Taylor, two of the most talented and wonderful humans around. I just love everybody on it.” 

Miller was equally complimentary about the finished track and added of Wright as a person and songwriter, “At this point, Adam feels more like family than a friend. I’ve been a fan of his writing, singing and playing since the first time I heard him … but every time I think he can’t get any better, he proves me wrong. Whether he is writing a gut-wrenching ballad or a light-hearted ditty, the one thing that never waivers is his attention to detail and impeccable song craft.”

Other Wright originals released so far for Melton & Miller Music have included “The Edge,” and “Never Mine,” both of which spent time on the Bluegrass Today Weekly Airplay Charts. Learn more about Adam Wright and his songs and music at adamwrightsongs.com.