“Scroll down to the end of the article to listen to music.”

Introduction

As a song that epitomizes the high-energy, carefree spirit of contemporary country music, “This Is How We Roll” resonates with many. Its title alone evokes memories of endless summer nights, driving down dusty roads with friends, windows down, and music blasting. For many fans, it captures the essence of youth and freedom—a soundtrack to adventures that many cherish as a symbol of their best days.

About The Composition

  • Title: This Is How We Roll
  • Composers: Luke Bryan, Tyler Hubbard, Brian Kelley, Cole Swindell
  • Premiere Date: November 26, 2013
  • Album/Opus/Collection: Here’s to the Good Times…This Is How We Roll
  • Genre: Country, specifically Bro-country

Background

“This Is How We Roll” was originally a track from Florida Georgia Line’s album, featuring country music superstar Luke Bryan. The song emerged from a collaboration that highlights the camaraderie and shared musical vision between these artists. It represents a significant phase in the ‘Bro-country’ movement, characterized by its blend of rock, hip-hop, and electronic influences within traditional country music. The track was a commercial success, embraced widely for its catchy melody and quintessentially carefree lyrics, capturing the lifestyle and cultural ethos of a generation.

Musical Style

The song is marked by its robust, anthemic quality, designed to be an upbeat soundtrack perfect for lively social gatherings. Its instrumentation includes electric guitars and a prominent drum beat, creating a robust sound that complements its high-energy vocals. The structure is catchy, with a chorus that invites listeners to sing along, making it a staple in country music playlists at parties and events.

Lyrics/Libretto

The lyrics of “This Is How We Roll” celebrate life on the road and the freedom associated with it, typical of the Bro-country genre. Themes of friendship, adventure, and carefree living are prevalent, resonating with fans who find joy in the simple pleasures of life—like rolling down a backroad with friends or celebrating the weekend in the country.

Performance History

Since its release, “This Is How We Roll” has enjoyed immense popularity in live performances, particularly at country music festivals where Florida Georgia Line and Luke Bryan have featured it prominently. Its reception has consistently been enthusiastic, further cementing its place in contemporary country music.

Cultural Impact

The song’s influence extends beyond music; it has become a cultural icon for a segment of youth that identifies with its themes. Its impact is seen in its frequent use in films, commercials, and television shows that aim to evoke a sense of freedom and fun, aligning with the song’s spirit.

Legacy

“This Is How We Roll” remains a defining piece in the careers of Florida Georgia Line and Luke Bryan, often cited by fans and critics alike as a highlight. Its ongoing popularity at concerts and its regular play on country music stations underscore its lasting appeal and its role in shaping the modern country music landscape.

Conclusion

“This Is How We Roll” is more than just a song; it’s a celebration of life’s joyful, unrestrained moments. For anyone looking to recapture the spirit of youthful exuberance or seeking a musical escape into the world of country fun, this track is a must-listen. Whether at a live concert or through your speakers at home, it’s guaranteed to lift spirits and invite you to roll down those windows and just enjoy the ride.

Video

Lyrics

[Verse 1: Florida Georgia Line]
The mixtape’s got a little Hank, little Drake
A little somethin’ bumpin’, thumb thumpin’ on the wheel right
The mix in our drink’s a little stronger than you think
So get a grip, take a sip of that feel right
Trucks jacked up, flat bills flipped back
Yeah, you can find us where the party’s at

[Chorus: Florida Georgia Line]
This is how we roll
We hangin’ ’round, singin’ out everything on the radio
We light it up with our hands up
This is how we roll, this is how we do
We burnin’ down the night, shootin’ bullets at the moon
Baby, this is how we roll

[Verse 2: Florida Georgia Line]
Yeah, baby, this is how we roll, we rollin’ into town
With nothin’ else to do, we take another lap around
Yeah, holla at your boy if you need a ride
If you roll with me, yeah, you know we rollin’ high
Up on them 37 Nittos, windows tinted, hard to see though
How fresh my baby is in the shotgun seat, oh
Them kisses are for me though, automatic like a free throw
This life I live, it might not be for you, but it’s for me though, let’s roll

[Chorus: Florida Georgia Line]
This is how we roll
We hangin’ ’round, singin’ out everything on the radio
We light it up with our hands up
This is how we roll, this is how we do
When the world turns ugly, I just turn and look at you
Baby, this is how we roll

[Guitar Solo]

[Bridge: Luke Bryan & Florida Georgia Line]
And we gon’ sing it to ’em
Yeah, we’re proud to be young, we stick to our guns
We love who we love and we wanna have fun
Yeah, we cuss on them Mondays and pray on them Sundays
Pass it around and we dream about one day

[Chorus: Luke Byran & Florida Georgia Line]
‘Cause this is how we roll (Come on, y’all)
We hangin’ ’round, singin’ out everything on the radio
(Get your hands up, get your hands up, get your hands up)
We light it up with our hands up (Aw, yeah)
This is how we roll, this is how we ride
We slangin’ up the mud, cuttin’ through the country side
Baby, this is how we roll
[Outro: Florida Georgia Line & Luke Bryan]
Yeah, this is how we roll (This is how we roll)
Yeah, baby (How we roll)
Yo, LB, let’s go (Yeah, this is how we roll)
This how we roll, this is how we do
We burnin’ down the night, shootin’ bullets at the moon (Aw, yeah)
Baby, this is how we roll (BK, Tyler)
LB, baby, one more time boys, let’s go
Yeah, this is how we roll (This is how we roll)

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HE OPENED THE ENVELOPE, SAW JOHN DENVER’S NAME, AND SET COUNTRY MUSIC’S BIGGEST AWARD ON FIRE. Charlie Rich had not come to Nashville as a clean country product. He was born in Colt, Arkansas, raised around gospel, blues, jazz, and cotton-field country. His mother played piano in church. A Black sharecropper named C. J. Allen helped teach him blues piano. By the time Rich found his way through Sun Records, RCA, Smash, Hi, and finally Epic, he had already been too jazzy for country, too country for pop, and too strange for the easy lane. Then 1973 changed everything. “Behind Closed Doors” hit. “The Most Beautiful Girl” hit even bigger. Rich became the Silver Fox, won major awards, and in 1974 took CMA Entertainer of the Year. For one year, the man Nashville had never known how to file became the man holding its highest prize. On October 13, 1975, he walked back onstage at the CMA Awards to name the next Entertainer of the Year. He opened the envelope. John Denver. Rich paused, pulled out a lighter, and burned the card before announcing, “My friend, Mr. John Denver.” Some called it protest. Some called it drunken bad judgment. His son later said Rich had pain medication, gin and tonics, a broken foot, and thought it would be funny — not a personal attack on Denver. The explanation came later. The image stayed first. A white-haired country star. A live television stQage. One burning slip of paper. And a career that never fully stepped out of that smoke.

THEY GOT MARRIED ON A CONCERT STAGE IN WICHITA. LESS THAN THREE YEARS LATER, JEAN SHEPARD WAS LEFT WITH TWO SONS AND A HUSBAND COUNTRY MUSIC COULD ONLY HEAR ON RECORDS. They met inside the world that had already claimed both of them — radio shows, road dates, the Grand Ole Opry, dressing rooms, and the kind of touring life where a singer’s home could feel like whatever town had the next stage. Jean was not fragile. She had already fought her way into hard country when women were still expected to sound sweeter than the men around them. “A Dear John Letter” had taken her to No. 1. The Opry had taken her in. She had survived one bad early marriage and kept her career anyway. Hawkshaw was different. Six-foot-five. Smooth. Charismatic. A West Virginia singer people called “Eleven Yards of Personality.” He had the height, the grin, and the kind of stage presence that made a crowd feel like he had walked in from a bigger life. On November 26, 1960, they married onstage during a concert in Wichita, Kansas. It was not just a courthouse promise. Ken Nelson gave Jean away. A local disc jockey broadcast the ceremony over the radio. The crowd was there. The music world was there. Their private vow entered country history through a microphone. For a while, it looked like the show and the marriage could live together. They toured. They built a home in Goodlettsville. They had a son, Don Robin, named after friends Don Gibson and Marty Robbins. Jean became pregnant again. Then the calendar turned cruel. The marriage that had started in front of an audience ended with Jean carrying the part no audience could sing for her — a toddler, an unborn child, and a husband whose voice kept climbing the chart after he was gone.

JEAN SHEPARD CUT “LONESOME 7-7203” BEFORE HER HUSBAND DID. CAPITOL LEFT IT SITTING. THEN HAWKSHAW HAWKINS RECORDED IT — AND DIED THREE DAYS AFTER ITS RELEASE. The song did not start as Hawkshaw Hawkins’ last hit. It passed through Jean Shepard first. By the early 1960s, Jean was already one of country music’s toughest women. She had come up through honky-tonk, made “A Dear John Letter” a No. 1 duet, joined the Grand Ole Opry, and proved she was not just a pretty harmony voice in a man’s business. Hawkshaw Hawkins was already part of that same Opry world. Tall, smooth, steady, with a career that had stretched from West Virginia radio to national country stages. He and Jean married in 1960. Two singers. Two roads. One house outside Nashville. Then came a Justin Tubb song called “Lonesome 7-7203.” Jean recorded it for Capitol, but the label left it unreleased. The song sat there. A lonely telephone number. A heartbreak line waiting for somebody to dial it. Hawkshaw finally told her that if Capitol was not going to release it, he would record it himself. King Records released his version on March 2, 1963. Three days later, Hawkshaw Hawkins was dead. The plane crash near Camden took him, Patsy Cline, Cowboy Copas, and pilot Randy Hughes. Jean was left with the grief, the children, and the strange sound of her husband’s voice still rising on the radio. Then the song climbed. “Lonesome 7-7203” reached No. 1 after Hawkshaw was gone. Jean had recorded it first. Hawkshaw made it immortal. Country music kept dialing the number after the man who sang it could no longer answer.

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HE OPENED THE ENVELOPE, SAW JOHN DENVER’S NAME, AND SET COUNTRY MUSIC’S BIGGEST AWARD ON FIRE. Charlie Rich had not come to Nashville as a clean country product. He was born in Colt, Arkansas, raised around gospel, blues, jazz, and cotton-field country. His mother played piano in church. A Black sharecropper named C. J. Allen helped teach him blues piano. By the time Rich found his way through Sun Records, RCA, Smash, Hi, and finally Epic, he had already been too jazzy for country, too country for pop, and too strange for the easy lane. Then 1973 changed everything. “Behind Closed Doors” hit. “The Most Beautiful Girl” hit even bigger. Rich became the Silver Fox, won major awards, and in 1974 took CMA Entertainer of the Year. For one year, the man Nashville had never known how to file became the man holding its highest prize. On October 13, 1975, he walked back onstage at the CMA Awards to name the next Entertainer of the Year. He opened the envelope. John Denver. Rich paused, pulled out a lighter, and burned the card before announcing, “My friend, Mr. John Denver.” Some called it protest. Some called it drunken bad judgment. His son later said Rich had pain medication, gin and tonics, a broken foot, and thought it would be funny — not a personal attack on Denver. The explanation came later. The image stayed first. A white-haired country star. A live television stQage. One burning slip of paper. And a career that never fully stepped out of that smoke.

THEY GOT MARRIED ON A CONCERT STAGE IN WICHITA. LESS THAN THREE YEARS LATER, JEAN SHEPARD WAS LEFT WITH TWO SONS AND A HUSBAND COUNTRY MUSIC COULD ONLY HEAR ON RECORDS. They met inside the world that had already claimed both of them — radio shows, road dates, the Grand Ole Opry, dressing rooms, and the kind of touring life where a singer’s home could feel like whatever town had the next stage. Jean was not fragile. She had already fought her way into hard country when women were still expected to sound sweeter than the men around them. “A Dear John Letter” had taken her to No. 1. The Opry had taken her in. She had survived one bad early marriage and kept her career anyway. Hawkshaw was different. Six-foot-five. Smooth. Charismatic. A West Virginia singer people called “Eleven Yards of Personality.” He had the height, the grin, and the kind of stage presence that made a crowd feel like he had walked in from a bigger life. On November 26, 1960, they married onstage during a concert in Wichita, Kansas. It was not just a courthouse promise. Ken Nelson gave Jean away. A local disc jockey broadcast the ceremony over the radio. The crowd was there. The music world was there. Their private vow entered country history through a microphone. For a while, it looked like the show and the marriage could live together. They toured. They built a home in Goodlettsville. They had a son, Don Robin, named after friends Don Gibson and Marty Robbins. Jean became pregnant again. Then the calendar turned cruel. The marriage that had started in front of an audience ended with Jean carrying the part no audience could sing for her — a toddler, an unborn child, and a husband whose voice kept climbing the chart after he was gone.

JEAN SHEPARD CUT “LONESOME 7-7203” BEFORE HER HUSBAND DID. CAPITOL LEFT IT SITTING. THEN HAWKSHAW HAWKINS RECORDED IT — AND DIED THREE DAYS AFTER ITS RELEASE. The song did not start as Hawkshaw Hawkins’ last hit. It passed through Jean Shepard first. By the early 1960s, Jean was already one of country music’s toughest women. She had come up through honky-tonk, made “A Dear John Letter” a No. 1 duet, joined the Grand Ole Opry, and proved she was not just a pretty harmony voice in a man’s business. Hawkshaw Hawkins was already part of that same Opry world. Tall, smooth, steady, with a career that had stretched from West Virginia radio to national country stages. He and Jean married in 1960. Two singers. Two roads. One house outside Nashville. Then came a Justin Tubb song called “Lonesome 7-7203.” Jean recorded it for Capitol, but the label left it unreleased. The song sat there. A lonely telephone number. A heartbreak line waiting for somebody to dial it. Hawkshaw finally told her that if Capitol was not going to release it, he would record it himself. King Records released his version on March 2, 1963. Three days later, Hawkshaw Hawkins was dead. The plane crash near Camden took him, Patsy Cline, Cowboy Copas, and pilot Randy Hughes. Jean was left with the grief, the children, and the strange sound of her husband’s voice still rising on the radio. Then the song climbed. “Lonesome 7-7203” reached No. 1 after Hawkshaw was gone. Jean had recorded it first. Hawkshaw made it immortal. Country music kept dialing the number after the man who sang it could no longer answer.

SHE SAID A MAN WITH A GUN WAS WAITING IN THE BACK SEAT. DAYS LATER, TAMMY WYNETTE STILL WALKED ONSTAGE IN SOUTH CAROLINA. Tammy Wynette already knew what it meant to sing pain for a living. By 1978, she was not just a country star. She was the woman behind “Stand by Your Man,” “D-I-V-O-R-C-E,” “I Don’t Wanna Play House,” and the kind of songs that made broken homes sound like they had wallpaper, bills, children, and nowhere clean to hide. Her life had become part of the story too. Marriages. George Jones. Public fights. Illness. A voice that could make surrender sound noble even when the woman singing it was barely holding the pieces together. Then came October 4, 1978. Tammy had gone shopping at Green Hills in Nashville for a birthday gift for her daughter. When she returned to her car, she later said a masked man was hiding in the back seat with a gun. He forced her to drive, beat her, and released her about 80 miles away in Giles County. The story sounded like something too strange even for country music. Questions followed. Rumors followed. No one was ever convicted. The mystery stayed attached to her name for the rest of her life. But Tammy still had a calendar. A few days later, bruised and shaken, she appeared for a concert in Columbia, South Carolina. The fans saw the First Lady of Country Music under the lights. What they could not fully see was the woman who had just been left on a Tennessee roadside, trying to explain a nightmare nobody could neatly close. Loretta Lynn turned poverty into defiance. Patsy Cline turned survival into steel. Tammy Wynette turned private wreckage into a voice so controlled it almost hid the damage.