The Story Behind The Song: “God Gave Me You”

Below is an interview conducted by Doug Waterman that appears on AmericanSongwriter.com (used with permission):

(Songwriter Dav

“God Gave Me You”
Written by: Dave Barnes
Recorded by: Blake Shelton
Peak Chart Position: No. 1 Billboard Country

When and where did you write the song?
I wrote the song at home in Nashville. I had the lyric idea on a visit to London, but to another melody. I’d had the idea of the music for a while. I actually went over to write with Matt Wertz for his album, and we didn’t have time to mess with the idea, so he asked me to shelve it and if we could come back to it. After playing it for Wertz, I remembered how much I loved the idea, and remembered the lyric idea from London, and the rest is history — i think i wrote it to that idea. I had to, of course, call Wertz and tell him I ended up writing it myself — he still gives me hell about that!

What inspired the song?
 i really loved the song title idea – it was a bit different at the beginning – the God Gave Me You idea, but as I kept tweaking it kept getting simpler, so that’s what it ended up as. It really resonated with me. It’s about and for my wife, Annie. It’s really a “Thank you” kind of a song. Because she’s awesome and has been, it wasn’t too hard to think of what to say!

How long did it take to write?
It didn’t take long at all to write. I really do think I wrote it in an afternoon. Those are the nice ones, where a melody and lyric idea match up perfectly. It was quick.

Were there any lines or words you can remember that were especially tough to make a decision on, that you went back and forth on?
It’s funny – there are some weird lines in this song. I mean, I love them. But i struggled through leaving a couple of them – namely “You’ll always be love’s great martyr, and i’ll be the flattered fool.” I mean, who says that? But I knew it was really unique and cool. And I never thought anyone other than me would be singing it, so I wasn’t thinking that way. I knew I would sing that and loved what it meant. and honestly how quirky it was! I love the “divine conspiracy” line too. And the bridge idea – “on my own i’m only, half of what I should be.” that’s a theme i seem to revisit a lot in my lyric writing. Maybe i should work on that. Ha!

How did the song get to Blake Shelton and producer Scott Hendricks? Any kind of story there?
Blake actually heard the song on Christian radio, which is funny due to the fact that I’ve never had a song on that format before. He was driving home from the Dallas airport to his home in Oklahoma, and the song came on, and due to where he was in his relationship with Miranda, it really connected with him. he downloaded the song then and there on the way home, and called Scott and told him he found a song he had to record. it’s such an amazing story because of the way he heard it. On the radio. No one pitching the song, trying to convince him about it. None of that. And also how it connected with him. there’s no greater thing for a songwriter than to know a song really connects with the people hearing it. So cool. Kudos to Blake for believing in it and pushing for it to be recorded!

How would you describe “God Gave Me You?”
I’ve thought about this alot with all that’s happened to the song as of late. I think it’s a sentiment that most of us can relate to, which is funny, because while I was writing that, i never meant for that to happen.I just knew it was how I felt. But I think most of us have people we are thankful for, people we have great appreciation for, and it’s hard to believe that we meet those people randomly, but rather that there was some divine providence in their involvement in our lives.

Any words of wisdom or advice for aspiring songwriters, regarding both the craft and business?
Just do the work. If this story proves anything, we never know what’s gonna happen. Ever. God has some crazy crazy plans, and they are best executed when we don’t mettle… but we do the work we know we are supposed to do. I personally think it’s a lot more fun that way too, to do your work and then watch it unfold… than to wear ourselves out worrying and overworking every angle to make it happen ourselves and on our own timeline. That’s my thought, anyways.

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Inside The Tin Pan South Songwriters Festival

My good friend and co-writer Doug Waterman--staff writer at Warner-Chappell and co-owner of American Songwriter--attended Nashville's recent Tin Pan South songwriting festival. I never get enough of hearing some of these masters of the craft perform their songs. For more photos of the event, click here. (Article and photo courtesy of American Songwriter.)

(Clint Black drops in on Steve Wariner at The Rutledge)

This past week, the NSAI (Nashville Songwriters Association International) held its 19th annual Tin Pan South songwriters festival—named after Manhattan’s storied Tin Pan Alley era and locale. I made a personal challenge to catch as many shows during the 5-day event that I possibly could, and in the end, that amounted to 9 out of 10 shows. It was well worth the frenzying around town to hear a mix of fresh songs and time-tested hits from 32 high-caliber tunesmiths. Here are some song snapshots and highlights from a selection of shows. View photos of the Festival here.

Tuesday

*SPOTLIGHT SHOW*

Bluebird – 6:00pm.

Canaan Smith: new Universal Music Group signee. “Up There With the Satellites,” an impressive, pop-wired crooner. “How Much You’re Loved,” another potential for his TBA debut an undeniable future hit (if you ask me).

Kelleigh Bannen: new Capitol Records signee. “Rose Colored Glasses,” a strong candidate for Bannen’s TBA debut album. “Downtown Sunnyside Church Prayer Meeting,” a rousing, behind-the-scenes glance at a women’s group.

Walker Hayes: Capitol Records. “Touching Feet,” a new song “on hold” by Rodney Atkins. “Why Wait For Summer,” a damn-the-winter new radio single off to a good chart start, co-written with in-the-round host and EMI Christian staff writer Fred Wilhelm.

Fred Wilhelm: “Dearly Beloved,” a cautionary marriage tale recorded by Faith Hill. Thank God some people still write great novelty songs. “Spotlight” (I think that’s the title), a tender tribute to one’s better half, co-written with Ben Glover—who also showcased the song at his own round.

Douglas Corner- 8:00pm

Philip Douglas: “My Blue Angel,” the signature Aaron Tippin hit that tipped my ‘90s country nostalgia over the proverbial edge, in a good way of course.

Tracy Lawrence: The man needs no introduction. “Time Marches On,” one of songwriter/producer icon Bobby Braddock’s many crowning moments.

Bernie Nelson: “Daddy Never Was the Cadillac Kind,” the rollicking-country smash hit recorded by Confederate Railroad. They just don’t make ‘em like that anymore…

Anthony L. Smith: Veteran hit writer. “Tomorrow,” his new single that’s burning up the charts for hotshot Music Row magazine “Breakthrough Artist” Chris Young.

Rick Huckaby: “Muddy Water,” a to-the-bone soul-cleanser recorded by Trace Adkins. One of my two favorite personal discoveries at Tin Pan South this year—the other being artist/writer Ben Glover.

Wednesday

The Rutledge – 6:00pm

Chris August: Word Entertainment. “Starry Night,” a pop-rock coated spiritual turning point.

Natalie Grant: Curb Records. “The Real Me,” a moving, perfectly-crafted confessional.

Kyle Lee: MWS Music (Michael W. Smith) staff writer/producer. “The Music In Me,” an infectious anthem about taking full advantage of one’s talents and gifts in life and dying with no regrets.

Tiffany Lee (Plumb): Curb Records. “Hang On,” a dramatic, impressionistic current single that feels like—and should be—a big fat pop hit.

Jeff Pardo: Simpleville Music. “Say Goodbye,” a hooky tune about shedding old skin for new—recently recorded by recording artist Mandisa

Saturday

Station Inn- 9:00pm

Sara Beck: “Invisible Man,” a standout ballad from this promising, on-the-move singer/songwriter, whose new independent album Technicolor is now available.

Mark Irwin: “Here In the Real World,” Alan Jackson’s career-blazing song…timeless, timeless, timeless… Trivia: which modern day artist would most likely jump to record this song in a heartbeat?

Tommy Lee James: “Bleed Red,” Ronnie Dunn’s current single screaming to the top of the charts, could just as naturally have been recorded by Coldplay.

Brice Long: “Nothin’ on But the Radio,” the swingin’ bedroom classic recorded by Gary Allan, and one of Radio’s most-played songs of the last decade. Co-written with Music Row hit-makers Odie Blackmon and Byron Hill.

Written by Doug Waterman, published in American Songwriter.