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** "I'm Comin' Over," in which it's a mutual desire despite being broken up, and he's right out the door in her direction the minute she's texts him.
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** "I'm Comin' Over," in which it's a mutual desire despite being broken up, and he's right out the door in her direction the minute she's she texts him.
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* RelationshipRevolvingDoor:
** "Tomorrow," implied to be a borderline DestructiveRomance that he'll quit...but not tonight.
** "I'm Comin' Over," in which the desire is mutual despite being broken up.
** Subverted in "Don't Call Me," which starts out exactly like the trope, until the chorus hits and it's all about how he wants to stop being her drunk-dial booty call.
** "Tomorrow," implied to be a borderline DestructiveRomance that he'll quit...but not tonight.
** "I'm Comin' Over," in which the desire is mutual despite being broken up.
** Subverted in "Don't Call Me," which starts out exactly like the trope, until the chorus hits and it's all about how he wants to stop being her drunk-dial booty call.
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* RelationshipRevolvingDoor:
** "Tomorrow," implied to be a borderline DestructiveRomance that he'll quit...but not tonight.RelationshipRevolvingDoor: Loves this trope.
** "I'm Comin' Over," in whichthe it's a mutual desire is mutual despite being broken up.
up, and he's right out the door in her direction the minute she's texts him.
** "Tomorrow," in which he recognizes there's a reason they broke up in the first place and this cycle is toxic, and he'll stop it--but not tonight.
** "Right Now" in which he admits he's just looking for a reason to call her and is willing to be the one to reach out because he is positive she feels the same.
** Subverted in "When You're Drinking" and "Don't Call Me," whichstarts out exactly like the trope, until the chorus hits and it's all are, oddly, nearly identical songs about how he desperately wants to stop being her drunk-dial booty call. call, and begs her to stop calling him. In the first, they have a relationship outside of when she's drunk, and he even magnanimously tells her she can call him anything ''except'' then. In the latter, he tells her to just find someone else altogether and to basically lose his number.
** "Tomorrow," implied to be a borderline DestructiveRomance that he'll quit...but not tonight.
** "I'm Comin' Over," in which
** "Tomorrow," in which he recognizes there's a reason they broke up in the first place and this cycle is toxic, and he'll stop it--but not tonight.
** "Right Now" in which he admits he's just looking for a reason to call her and is willing to be the one to reach out because he is positive she feels the same.
** Subverted in "When You're Drinking" and "Don't Call Me," which
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** Subverted in "Don't Call Me," which starts out exactly like the trope, until the chorus hits and it's all about how he wants to stop being her drunk-dial booty call.
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Changed line(s) 38 (click to see context) from:
* NotBigEnoughForTheTwoOfUs: "Town Ain't Big Enough," a duet with Lauren Alaina, about the inability to get closure after a break-up because you keep running into your ex.
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* NotBigEnoughForTheTwoOfUs: "Town Ain't Big Enough," a duet with Lauren Alaina, about the inability to get closure after a break-up because you keep running into your ex. Rather than duel for it as is typical for the trope, the lyrics wish they could "draw a line through the city" so they didn't have to see each other.
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Changed line(s) 38 (click to see context) from:
* NotBigEnoughForTheBothOfUs: "Town Ain't Big Enough," a duet with Lauren Alaina, about the inability to get closure after a break-up because you keep running into your ex.
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* NotBigEnoughForTheBothOfUs: NotBigEnoughForTheTwoOfUs: "Town Ain't Big Enough," a duet with Lauren Alaina, about the inability to get closure after a break-up because you keep running into your ex.
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* NotBigEnoughForTheBothOfUs: "Town Ain't Big Enough," a duet with Lauren Alaina, about the inability to get closure after a break-up because you keep running into your ex.
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* DanceOfRomance: "Hangin' On," about being infatuated with the girl the narrator's dancing with; combined with a DualMeaningTitle, as he's "hangin' on" to every word she says while she's literally "hangin' on" to him while they dance.
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* DanceOfRomance: "Hangin' On," about being infatuated with the girl the narrator's dancing with; combined with a DualMeaningTitle, DoubleMeaningTitle, as he's "hangin' on" to every word she says while she's literally "hangin' on" to him while they dance.
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* AdvertisedExtra: Music/VinceGill provides a barely noticeable backing vocal and brief guitar solo on "Sober Saturday Night", but the song was credited as a full-fledged duet.
* ChristmasSongs: ''It Must Be Christmas''
* DrowningMySorrows: "Drinkin' Me Lonely"
* ChristmasSongs: ''It Must Be Christmas''
* DrowningMySorrows: "Drinkin' Me Lonely"
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* AdvertisedExtra: Music/VinceGill provides a barely noticeable backing vocal and brief guitar solo on "Sober Saturday Night", Night," but the song was credited as a full-fledged duet.
* BetterPartnerAssertion: "Alone Tonight." Her boyfriend's a jerk who only calls her when he's drunk, and he wants to treat her better.
* ChristmasSongs: ''It Must BeChristmas''
Christmas," "Under the Weather"
* DanceOfRomance: "Hangin' On," about being infatuated with the girl the narrator's dancing with; combined with a DualMeaningTitle, as he's "hangin' on" to every word she says while she's literally "hangin' on" to him while they dance.
* DrowningMySorrows: "Drinkin' MeLonely"Lonely," "Where I Go When I Drink." Subverted in "Sober Saturday Night," in which the singer's feeling all sorts of hungover, but from a break-up.
* BetterPartnerAssertion: "Alone Tonight." Her boyfriend's a jerk who only calls her when he's drunk, and he wants to treat her better.
* ChristmasSongs: ''It Must Be
* DanceOfRomance: "Hangin' On," about being infatuated with the girl the narrator's dancing with; combined with a DualMeaningTitle, as he's "hangin' on" to every word she says while she's literally "hangin' on" to him while they dance.
* DrowningMySorrows: "Drinkin' Me
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* HeartbeatSoundtrack: "Heartbeat," which is ExactlyWhatItSaysOnTheTin, and its snare-drum heartbeat-esque bass line.
* IntercourseWithYou: "Losing Sleep," with the idea that because of the intimacy, they're "winning when [they're] losing sleep."
* IntercourseWithYou: "Losing Sleep," with the idea that because of the intimacy, they're "winning when [they're] losing sleep."
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* RelationshipRevolvingDoor:
** "Tomorrow," implied to be a borderline DestructiveRomance that he'll quit...but not tonight.
** "I'm Comin' Over," in which the desire is mutual despite being broken up.
** "Tomorrow," implied to be a borderline DestructiveRomance that he'll quit...but not tonight.
** "I'm Comin' Over," in which the desire is mutual despite being broken up.
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[[quoteright:300:https://static.tvtropes.org/pmwiki/pub/images/chrisyoungcountrysinger.jpg]]
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He is not to be confused with [[Music/ChristopherYoung the film and television composer of the same name]].
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* EarlyInstallmentWeirdness: His first three albums have an old-school honky-tonk sound with prominent fiddle and steel guitar. Starting with ''A.M,'', the fiddle was dropped and his overall sound became slicker and more pop/rock influenced.
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* NewSoundAlbum: ''A.M'', his last album with James Stroud as producer, was significantly more pop-influenced than his first three albums. ''I'm Comin' Over'', his first album with Corey Crowder, completed the transition.
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* ''Famous Friends'' (2021)
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* LaterInstallmentWeirdness: From about ''A.M.'' onward, he began pushing toward a more country-pop sound instead of neotraditional country.
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* LaterInstallmentWeirdness: GenreShift: From about ''A.M.'' onward, he began pushing toward a more country-pop sound instead of moving away from the neotraditional country.sound he started out with in favor of a country-pop sound.
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* ''Raised on Country'' (2020)
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A CountryMusic singer from Murfreesboro, Tennessee.
Christopher Alan Young (June 12, 1985-) performed locally before getting his break on the Creator/{{CMT}} singing competition ''Series/NashvilleStar''. This also resulted in a contract with Creator/RCARecords.
Although his debut album got some critical buzz, it sold horribly and the singles failed to crack the top 40. His third RCA single, "Voices", also bombed -- but then came "Gettin' You Home (The Black Dress Song)", which sparked a string of five straight #1 hits on the country charts (including a {{rerelease|the song}} of "Voices"). His next four RCA discs all achieved RIAA gold sales, along with further hits such as "Aw Naw", "I'm Comin' Over", "Think of You", "Sober Saturday Night", and "Losing Sleep".
While his first few albums showed him to have a neotraditionalist country bent replete with cowboy hat, his sound began to shift more toward pop and he lost the hat.
!Albums
*''Chris Young'' (2006)
*''The Man I Want to Be'' (2009)
*''Neon'' (2011)
*''A.M.'' (2013)
*''I'm Comin' Over'' (2015)
*''It Must Be Christmas'' (2016)
*''Losing Sleep'' (2017)
!Tropes present in his work:
* AdvertisedExtra: Music/VinceGill provides a barely noticeable backing vocal and brief guitar solo on "Sober Saturday Night", but the song was credited as a full-fledged duet.
* ChristmasSongs: ''It Must Be Christmas''
* DrowningMySorrows: "Drinkin' Me Lonely"
* LaterInstallmentWeirdness: From about ''A.M.'' onward, he began pushing toward a more country-pop sound instead of neotraditional country.
* LittleBlackDress: "Gettin' You Home (The Black Dress Song)" is about wanting to [[DressHitsFloor take one of these off his lover]].
* LoudnessWar: One of the pitfalls of his work from ''I'm Comin' Over'' onward is Corey Crowder's overblown and amateurish production. This is especially notable on "Think of You".
* RereleaseTheSong: "Voices" only got to #37 on its first release. But after he broke through with the #1 hits "Gettin' You Home" and "The Man I Want to Be", he persuaded the label to give "Voices" a second chance -- resulting in his third straight #1 hit.
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Christopher Alan Young (June 12, 1985-) performed locally before getting his break on the Creator/{{CMT}} singing competition ''Series/NashvilleStar''. This also resulted in a contract with Creator/RCARecords.
Although his debut album got some critical buzz, it sold horribly and the singles failed to crack the top 40. His third RCA single, "Voices", also bombed -- but then came "Gettin' You Home (The Black Dress Song)", which sparked a string of five straight #1 hits on the country charts (including a {{rerelease|the song}} of "Voices"). His next four RCA discs all achieved RIAA gold sales, along with further hits such as "Aw Naw", "I'm Comin' Over", "Think of You", "Sober Saturday Night", and "Losing Sleep".
While his first few albums showed him to have a neotraditionalist country bent replete with cowboy hat, his sound began to shift more toward pop and he lost the hat.
!Albums
*''Chris Young'' (2006)
*''The Man I Want to Be'' (2009)
*''Neon'' (2011)
*''A.M.'' (2013)
*''I'm Comin' Over'' (2015)
*''It Must Be Christmas'' (2016)
*''Losing Sleep'' (2017)
!Tropes present in his work:
* AdvertisedExtra: Music/VinceGill provides a barely noticeable backing vocal and brief guitar solo on "Sober Saturday Night", but the song was credited as a full-fledged duet.
* ChristmasSongs: ''It Must Be Christmas''
* DrowningMySorrows: "Drinkin' Me Lonely"
* LaterInstallmentWeirdness: From about ''A.M.'' onward, he began pushing toward a more country-pop sound instead of neotraditional country.
* LittleBlackDress: "Gettin' You Home (The Black Dress Song)" is about wanting to [[DressHitsFloor take one of these off his lover]].
* LoudnessWar: One of the pitfalls of his work from ''I'm Comin' Over'' onward is Corey Crowder's overblown and amateurish production. This is especially notable on "Think of You".
* RereleaseTheSong: "Voices" only got to #37 on its first release. But after he broke through with the #1 hits "Gettin' You Home" and "The Man I Want to Be", he persuaded the label to give "Voices" a second chance -- resulting in his third straight #1 hit.
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