Luke Bryan, a name synonymous with modern country hits, continues to navigate the genre’s ever-shifting sands. While some might argue his peak momentum has waned, his chart-topping track record remains undeniable. In the 2010s alone, he unleashed 24 songs, with a staggering 22 reaching the pinnacle of a Billboard chart. However, even for a Nashville titan like Bryan, a global pandemic presents unforeseen challenges. The intended triumph of his album Born Here, Live Here, Die Here, initially fueled by the success of “What She Wants Tonight”, faced a postponement to August. To reignite the buzz, Bryan turned to “One Margarita,” the album’s third single, a quintessential beach-party tune.
At first glance, “One Margarita” appears to be familiar territory for Bryan, echoing the carefree, sun-soaked vibes of his Spring Break series. It’s an anthem dedicated to escapism, urging listeners to drown their worries in alcohol-induced oblivion. While it might not instantly distinguish itself from similar tracks in the genre, a closer listen reveals subtle nuances that elevate it slightly above counterparts like Chris Janson’s “Fix A Drink” or even “Good Vibes.” Considering the global climate and past critiques of Bryan’s previous releases, it’s worth exploring what “One Margarita” manages to get right.
One of the song’s strengths lies in its production approach. Many party-centric songs, particularly in recent country music, often rely heavily on electric instruments, attempting to amplify the feeling of relaxation with louder, more intense sounds. This approach can sometimes feel contradictory, akin to a raging fraternity party rather than a laid-back beach gathering. “One Margarita,” however, opts for a more restrained and acoustic-driven soundscape. The melody is anchored by an acoustic guitar, while electric guitars and drums take a backseat, contributing subtly without overpowering the breezy atmosphere. A keyboard adds organ-like chords, further enhancing the relaxed vibe. The result is a lighter, more airy mix that is considerably easier on the ears than many of its competitors. While it may still be considered “empty sonic calories,” it does offer a fleeting moment of pleasant sonic distraction.
Kenny Chesney might hold the crown as the king of beach-themed country music, a fact even alluded to in the song itself, but Luke Bryan is no stranger to the coastal scene. His extensive experience with the Spring Break series has undoubtedly honed his understanding of this particular musical style. “One Margarita” is not a vocally challenging song, and Bryan effortlessly navigates it, yet he manages to imbue the narrator with a degree of likability. His consistently positive delivery deflects attention from any underlying negativity, portraying the character as someone simply seeking lighthearted fun. He avoids coming across as overly boisterous or insincere, skillfully maneuvering through potentially shallow lyrical territory. Bryan embodies the role of a regular guy wanting to unwind with drinks and good times, sidestepping any deeper exploration of the reasons behind this desire for escape and instead focusing on the immediate pleasures of drinking and revelry. While this performance might not be destined for Bryan’s greatest hits collection, it represents an improvement over some of his more forced and less convincing “party” anthems.
Analyzing the lyrics of a song centered around the repetition of “one margarita, two margarita, three margarita” and lines about “tiki bars tiki’n” might seem like a futile exercise. However, the lyrical content of “One Margarita” is notable more for what it omits than what it includes. Certainly, it incorporates a checklist of beach-party clichés: tiki bars, bikinis (“two pieces”), señoritas, margaritas, and the obligatory Jimmy Buffett reference seemingly mandated for songs of this nature. Yet, instead of dwelling on the negative circumstances that might drive someone to seek solace in alcohol, the song only vaguely alludes to “sorrow” and the desire to escape worries about “tomorrow.” Furthermore, the objectification of women, a recurring issue in some of Bryan’s discography, is notably toned down, although the “two-pieces shakin'” line still raises an eyebrow. The song prioritizes the celebration of carefree enjoyment, even acknowledging the morning-after effects of overindulgence (though health experts might not endorse “hair of the dog” as a hangover cure). “One Margarita” is unlikely to be hailed as a masterpiece, but in a genre often prone to missteps, achieving a level of tolerable, if forgettable, listenability can be considered a minor victory.
“One Margarita” is not a song built for longevity, and it arguably sits lower on the list of drinking-themed party songs than tracks like Thomas Rhett and Jon Pardi’s “Beer Can’t Fix.” However, it serves as a light, breezy diversion that, unlike some of its genre counterparts, doesn’t demand listeners completely ignore the darker realities of the world. The production is polished, Luke Bryan delivers a convincingly cheerful performance, and the songwriting, while generic, remains largely inoffensive. It’s the kind of easy-listening tune that might find a place on playlists for a few months, offering a temporary soundtrack as we navigate uncertain times. As a momentary escape and a way to fill the airwaves while waiting out larger global events, “One Margarita” is, ultimately, just fine.
Rating: 5/10. Not a song to actively seek out, but not one to complain about if it happens to play.
