If you noticed a little extra something in Carrie Underwood and Cody Johnson’s new duet, “I’m Gonna Love You,” you’re not imagining things. The powerful country track not only features both Underwood and Johnson’s impressive vocal talents, but it also utilizes some less-than-normal (by today’s standards) recording techniques that give the track that little touch of musical magic.
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Indeed, the moving ballad is a testament to why musicians should return to tried and true recording techniques that have become a bit less common in today’s digital age.
Carrie Underwood and Cody Johnson Knew Their Duet Needed Something Else
As is usually the case when two ultra-busy stars collaborate on a track, Carrie Underwood and Cody Johnson initially recorded their November 2024 duet, “I’m Gonna Love You,” in two different sessions. After they laid down their vocals, the pair took some time to sit with the song and consider any potential mix or performance notes. As Johnson recalled on Today’s Country Radio, he could tell by Underwood’s expression that she wasn’t quite happy with their results.
“I don’t know…it wasn’t a look of disappointment on her face, but it was just like this,” he said before making a pensive scowl. “I’m like, ‘What are you not liking? What’s wrong?’ Cause it didn’t have the boom. We’re both professionals, and for me, it didn’t have that thing, either.” Underwood decided that the problem was that the duet didn’t really feel like a duet. So, she suggested they go back to the studio—together this time—and live-track the vocals instead.
“We went in, opposite sides of the glass, and we sang live,” Johnson continued. “That’s what’s on the record. That’s what you’re hearing is one take, live, I swear to God. It was so organic. It was like singing in church.”
Why We Want More Songs Like Underwood and Johnson’s Duet
Cody Johnson and Carrie Underwood’s decision to live-track their duet together wasn’t just the right call for their specific project. We’d argue that “I’m Gonna Love You” proves that, whenever possible, all artists should try to return to this kind of in-the-moment, organic sound. Whether or not the listener is consciously aware of the differences, a special kind of magic occurs when artists collaborate in the studio instead of splicing the performance together digitally in post-production.
The beauty of performing together is part of the intrinsic allure of music. We’ve been making music together for centuries—only the digital production techniques are new. Capturing this type of sound is partially why records from the ‘50s, ‘60s, and ‘70s sound so tight and cohesive. It’s because all the musicians were in the studio live, playing the songs as if they were on stage in front of a crowd.
Moreover, live tracking inherently demands more of an artist. Every musician on the project has to bring their A game so that each take is usable. (Luckily for Underwood and Johnson, they only needed one pass to capture the magic of their voices together.) Digital production is an incredibly versatile and useful tool, but there’s something to be said about bringing a human touch back to recordings. We’ve done it before, and if Underwood and Johnson’s new duet is any indication, we should definitely be doing it again.
Photo by Christopher Polk/Variety via Getty Images
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