The creation of “Wish You Well” can be attributed to the creative synergy between songwriter Blake Pendergrass, known for tracks like “Relapse” and “Days That End in Y,” and co-writer Geoff Warburton, recognized for songs like “Best Thing Since Backroads” and “But I Got a Beer in My Hand.” Pendergrass stumbled upon the catchy hook during a brainstorming session, merging the concept of a polite farewell with the idea of a well drink. He envisioned a series of wishes encapsulated in the lyrics, featuring the protagonist attempting to escape his emotional void by indulging in house whiskey instead of a specific brand. This creative process began in the fall of 2022, though initial reactions were mixed. Warburton, who was present during the session, found enough potential in the idea to revisit it periodically over the year, demonstrating the importance of persistence in songwriting.

Finally, on October 3, 2023, during a collaborative writing session at a studio owned by writer-producer Chris LaCorte, known for hits like “23” and “Wind Up Missin’ You,” Warburton brought up “Wish You Well” once more. This time, the group’s response was enthusiastic, and they dived into the song with great energy as Warburton laid down a rapid guitar groove. They tackled the chorus first, layering the opening lines with multiple wishes — “Wish you would call/ Wish you would miss me” — creating a repetitive yet catchy cadence that captures the essence of yearning and nostalgia, engaging listeners right from the start.

“Creating that first half of the chorus came together swiftly in the studio,” Warburton recalls. “Everyone was bouncing ideas off each other, and it all just fell into place really quickly.” The collaborative energy in the room highlights the magic of songwriting, showcasing how dynamic interactions can lead to creative breakthroughs and memorable hooks that resonate with audiences, illustrating the collaborative nature of the music industry.

After establishing the wishful theme in the first four lines, they shifted to syncopated rhythms in the subsequent lines, simultaneously altering the lyrical focus as they raced toward the song’s signature “wish you well” drink at the conclusion. “Once we had that initial segment,” Warburton reflects, “we decided to ease off on the wish motif for a moment.” This strategic change in the songwriting process emphasizes the importance of balance and variety in creating engaging music that captures the listener’s attention throughout the track.

After a brief pause, they reinforced the hook for emphasis. The repetition serves not only as a memorable element but also enhances the emotional impact of the chorus, ensuring that listeners can connect with the sentiments expressed in the song. This technique is particularly effective in country music, where storytelling is paramount, and allows the audience to fully absorb the narrative woven throughout the piece.

“There’s a wealth of information packed into the chorus,” explains co-writer Jessie Jo Dillon, known for hits like “10,000 Hours” and “Am I Okay?” “I always feel that when a song contains so much information, it’s essential to either give it some breathing room or repeat the hook as a tag, allowing listeners to digest everything they just heard.” This thoughtful approach illustrates the art of songwriting, where every detail matters in crafting a memorable and impactful musical experience.

The chorus encompasses so much content that they found themselves with limited space for verses. Nevertheless, they managed to weave more wishful thinking into those sections. The opening line depicts the protagonist downing three shots, reminiscent of a “Jim Beam genie” granting him three wishes. Pendergrass was initially uncertain whether this line would resonate, admitting, “I faced some resistance regarding ideas like that.” His willingness to explore quirky and unconventional lines adds a unique flavor to the song, showcasing the creative risks that often yield rewarding results.

Jim Beam represents a delightful contradiction: although the song revolves around a generic well drink, the genie metaphorically employs a specific brand. “He’s thinking, ‘Maybe I’ll start with the good stuff,’” Dillon quips, “but then he finds himself spending all his quarters on the jukebox, forcing him to scale back.” This humorous yet relatable imagery adds depth to the narrative, enhancing the listener’s connection to the protagonist’s experience of seeking comfort in familiar rituals.

The jukebox makes a brief but significant appearance in the concise second verse, where they intentionally reference a vintage model rather than a modern digital option. This choice not only facilitates a rhyme between “quarter” and “order” but also reinforces the wishing motif: the character is tossing coins into a music machine instead of making wishes at a fountain. “Who wants to sing about entering your Apple Pay on the TouchTunes on your iPhone?” LaCorte muses. “It lacks the poetic flair we aimed for.” This clever use of imagery showcases the importance of nostalgia in songwriting, resonating with listeners who appreciate the charm of simpler times.

For a brief bridge, they expanded upon the wish motif, this time during closing hours: the protagonist finds himself alone and decides to wish upon a “2 a.m. star.” Even though the lyrics flow quickly throughout the song, they maintain a smoothness that allows listeners to become completely absorbed in its musicality. “One of my primary focuses while writing is to ensure that nothing sounds forced or unnatural in the phrases,” Pendergrass emphasizes, underscoring the importance of authenticity in songwriting.

LaCorte crafted a simple, predominantly acoustic demo featuring Pendergrass on lead vocals, while Warburton developed a catchy, melodic guitar riff. “I had been experimenting with different sounds,” Warburton recalls. “Chris noticed and said, ‘Oh, that sounds great! Let’s incorporate that into the mix.’” This collaborative spirit reflects the essence of music creation, where contributions from various artists culminate in a cohesive and compelling track.

“Wish You Well” quickly became a standout track for Hang Your Hat Music GM and executive VP Jake Gear, who was appointed as Universal Music Group Nashville VP of A&R in March 2024. At that time, he shared the demo with Mason, who had recently signed with MCA Nashville, without any indication that he would want to record it. This unassuming approach highlights the organic nature of the music industry, where genuine connections often lead to unexpected opportunities.

However, Mason became captivated by the song and, after a month of repeated listens, made the decision to commit to recording it. The strength of the demo was evident, serving as the foundation for the master recording, with its rhythmic guitar prompting discussions about omitting drums altogether. Ultimately, Aaron Sterling contributed his talents, beginning with cajon before transitioning to a more conventional drum kit, adding depth to the final production.

“We approached it with the mindset of, ‘Play the drums, but don’t draw attention to them,’” Mason recalls. He encountered challenges in delivering the lyrics clearly during the lead vocal sessions, necessitating multiple returns to the studio. Each time, they adjusted the tempo, finally settling at 169 beats per minute, which was about six beats slower than the original version. This meticulous attention to detail showcases the dedication required in the music-making process, ensuring that the final product meets the artist’s vision.

“It’s a lyrically dense song with a rapid tempo, featuring a lot of syncopation within the melody,” LaCorte explains. “It requires numerous repetitions to feel natural. However, slowing down the pace definitely helped achieve a smoother delivery.” This insight into the creative process illustrates the balance between maintaining the song’s energy and ensuring clarity in the lyrics, a crucial aspect of effective songwriting.

Justin Schipper added layers of steel and Dobro, while Josh Reedy from Thomas Rhett’s road band provided harmonies that shine through in the final chorus, thanks to engineer Dave Clauss’ expert mixing. The track’s commercial appeal led MCA to promote it to country radio on February 13, marking it as Mason’s first single sent to broadcasters. As of March 29, the song has achieved a ranking of No. 56 after three weeks on the Country Airplay chart, reflecting its growing popularity.

“Having grown up listening to country radio, I think there’s an inherent understanding of what resonates,” Mason reflects. “It possesses that elusive ‘X factor’ that makes it a hit, capturing listeners’ attention from the very first listen. I believe it holds the best potential to connect with audiences and leave a lasting impression.” This confidence in the song’s appeal underscores the importance of authenticity and relatability in country music, where personal stories often forge deep connections with fans.