Vince Gill – What The Cowgirls Do

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

Introduction

There’s something undeniably exhilarating about the way certain songs capture the essence of a lifestyle or a spirit. Vince Gill’s “What the Cowgirls Do” is one such track that embodies the lively, free-spirited nature of cowgirls. Whether you’re a country music fan or just someone who appreciates a good, toe-tapping tune, this song has a way of transporting you to the heart of cowboy country, where the cowgirls know how to have a good time.

About The Composition:

Title: What the Cowgirls Do
Composer: Vince Gill
Premiere Date: July 18, 1994
Album/Opus/Collection: When Love Finds You
Genre: Country, Neo-traditional country

Background

“What the Cowgirls Do” is a vibrant track from Vince Gill’s album When Love Finds You, released in 1994. The song captures the lighthearted and fun side of country music, celebrating the energetic and carefree lifestyle of cowgirls. Gill, known for his smooth voice and exceptional guitar skills, co-wrote the song with Reed Nielsen. The track was well-received upon release, climbing the charts and securing its place as one of Gill’s memorable hits. Its lively tempo and catchy chorus made it a favorite for both country radio and dance floors, solidifying its place in the genre’s mid-90s revival.

Musical Style

The musical elements of “What the Cowgirls Do” are a blend of traditional and contemporary country sounds. The song features twangy guitar riffs, a steady drumbeat, and Gill’s signature smooth vocals, all of which come together to create an upbeat, danceable track. The song’s structure is straightforward, with a verse-chorus format that invites listeners to sing along. The instrumentation, particularly the prominent use of the steel guitar, adds a layer of authenticity to the song, reminding listeners of the honky-tonk roots of country music.

Lyrics/Libretto

The lyrics of “What the Cowgirls Do” tell a playful story of cowgirls who live life on their terms, enjoying the thrills of dancing, riding, and breaking a few hearts along the way. The narrative is lighthearted and celebratory, highlighting the independence and spirit of these women. The chorus, with its catchy repetition of the title, reinforces the carefree attitude that the song embodies.

Performance History

Since its release, “What the Cowgirls Do” has become a staple in Vince Gill’s live performances. The song’s lively energy makes it a crowd favorite, often encouraging audiences to dance and sing along. Over the years, it has been featured in various country music compilations and remains a popular choice on country radio stations.

Cultural Impact

The cultural impact of “What the Cowgirls Do” lies in its celebration of the cowgirl archetype. At a time when country music was experiencing a resurgence in popularity, the song resonated with audiences who appreciated its nod to traditional values and the fun, rebellious spirit of the cowgirl. It also contributed to the broader trend of country music embracing its roots while appealing to a modern audience.

Legacy

“What the Cowgirls Do” continues to be an enduring piece in Vince Gill’s repertoire. Its lively tempo and catchy lyrics ensure that it remains a favorite among fans, both old and new. The song’s celebration of the cowgirl spirit has helped cement its place in country music history, serving as a reminder of the genre’s ability to capture and celebrate the joys of life.

Conclusion

“What the Cowgirls Do” is more than just a song; it’s a celebration of the carefree, adventurous spirit that defines the cowgirl lifestyle. Vince Gill’s masterful composition and performance make it a timeless piece of country music that continues to bring joy to listeners. If you haven’t yet experienced this lively tune, I highly recommend giving it a listen—it’s a surefire way to brighten your day and get your feet tapping

Video

Lyrics

Have you ever been down to Texas
And down around San Antone?
They love to go all night and treat you right
And party ’til the cows come home
I love it when they let their hair down
And dance real close to you
You know I’m a sucker, babe, for what the cowgirls do
(What the cowgirls do)
What the cowgirls do (what the cowgirls do)
They ain’t no different up in Oklahoma
They ain’t afraid to stay up ’til dawn
They love to cut and run and chug a lug
Longnecks until their money’s all gone
I love it when they let their hair down
And dance real close to you
You know I’m a sucker, babe, for what the cowgirls do
(What the cowgirls do)
What the cowgirls do (what the cowgirls do)
Shoot that thing
Well, there’s cowgirls all across the country
From Baton Rouge to Bangor Maine
It ain’t hard to see they’ll be the death of me
They’re gonna drive my little heart insane
I love it when they let their hair down
And dance real close to you
You know I’m a sucker, babe, for what the cowgirls do
(What the cowgirls do)
Well, I love it when they let their hair down
And dance real close to you
You know I’m a sucker, babe, for what the cowgirls do
(What the cowgirls do)
What the cowgirls do (what the cowgirls do)
What the cowgirls do (what the cowgirls do)
What the cowgirls do (what the cowgirls do)
What those cowgirls do (what the cowgirls do)
What the cowgirls do
(What the cowgirls do)
What the cowgirls do
(What the cowgirls do)
(What the cowgirls do)
(What the cowgirls do)
(What the cowgirls do)
(What the cowgirls do)
(What the cowgirls do)

Country Music

REBA McENTIRE SAID THERE WOULD “NEVER EVER BE ANOTHER” DOLLY PARTON—THEN CLOSED HER FAREWELL WITH THE FIVE WORDS DOLLY HAD ALREADY MADE IMMORTAL: “I WILL ALWAYS LOVE YOU.” Reba McEntire and Dolly Parton belonged to different generations of country music, but their careers overlapped long enough for admiration to become friendship. Dolly had already become a major star before Reba’s rise in the late 1970s and early 1980s. Over the years, the two women shared stages, television appearances and mutual respect, while Dolly remained one of the figures Reba openly credited as an example of how far a country woman could take her career. After Dolly’s death at 80, Reba responded personally. She thanked her for “all the wonderful things” she had done on earth and for the love, music and generosity she had given with what Reba called her “huge huge heart.” Then she wrote something simpler. “There will never ever be another you.” It was less a statement about chart records than about scale. Dolly had spent more than six decades writing songs, making films, building businesses, supporting children’s literacy and carrying country music far outside the boundaries it had when she first entered Nashville. Reba also promised that the memories and every note Dolly had played and sung would be cherished. Her final words were deliberate. “I will always love you.” For anyone else, the sentence might have been only a farewell. For Dolly Parton, it carried the title of the song she wrote in 1974 to leave Porter Wagoner with gratitude instead of anger—a song that later became one of the most famous farewells in popular music. Reba did not need to explain that history. By the time she wrote those five words, Dolly had already given them a meaning country music understood.

Country Music

MARK CHESNUTT FINISHED THE SHOW EVEN THOUGH SOMETHING WAS WRONG. HE COULD BARELY MAKE IT BACK TO THE BUS. HIS WIFE CALLED AN AMBULANCE TO INTERCEPT THEM ON THE ROAD — AND BY THE END OF THE NIGHT, HE WAS IN EMERGENCY QUADRUPLE BYPASS SURGERY.. By 2024, Mark Chesnutt had already spent several difficult years trying to regain control of his health and career. Back surgery in 2021 had limited him physically, while drinking had become increasingly destructive. In November 2023, severe internal bleeding and organ problems put him in a Knoxville hospital. Doctors warned that continuing to drink could kill him. Chesnutt took his last drink on November 1. Getting sober created another challenge. He had spent decades performing with alcohol in his system and wasn’t sure he could even walk onstage sober. But when rehearsals began in early 2024, he discovered he still knew every word—and felt his voice was stronger than expected. Then came another warning. In June, Chesnutt developed pain in his arm. It did not feel like the heart symptoms he expected, so he kept working. Before a Saturday show near Houston, his wife Tracie urged him to cancel. He refused. Chesnutt barely finished the performance and struggled to reach the tour bus afterward. As the bus headed home, Tracie called an ambulance. Emergency crews intercepted them on the road. Doctors found something far more serious than arm pain. On June 16, Chesnutt underwent emergency quadruple bypass surgery. He later said he had not yet suffered a heart attack, but was dangerously close. The shows stopped immediately. For the singer behind “Brother Jukebox,” “Too Cold at Home,” “Almost Goodbye” and “I Don’t Want to Miss a Thing,” the priority was no longer another tour date. It was recovery. A little more than a week later, Chesnutt posted from home, joking that his doctor had given him a “new heart.” He was already talking about singing again. He did not stay away long. In September 2024, less than three months after surgery, Chesnutt returned to the stage in Kentucky. By 2025, he was preparing a Redemption Tour, openly discussing both sobriety and the health crises that had nearly ended everything. Chesnutt later said he felt better than he had in his thirties. The man who once wondered whether he could perform sober was heading back on the road healthier, clear-headed and eager to sing again. After decades of honky-tonk songs about second chances, Mark Chesnutt had finally reached one of his own.

Country Music

TRAVIS TRITT COULDN’T AFFORD A DEMO, SO AN ELECTRICIAN FRIEND SNUCK HIM INTO A STUDIO FOR A FEW FREE MINUTES. THE OWNER HEARD HIM—AND THAT ACCIDENTAL SESSION EVENTUALLY LED TO WARNER BROS., A NO. 1 HIT, AND A PLATINUM DEBUT. He married young, worked ordinary jobs around Georgia and played music whenever he could. By his early twenties, two marriages had already ended, and his parents still doubted country music could provide a living. Tritt kept playing clubs anyway. Money was so tight he later remembered surviving on Vienna sausage sandwiches. Then, in 1982, he wanted to enter a music contest but could not afford the studio time needed for a demo. A friend found a way around it. The friend was an electrician wiring a studio owned by Danny Davenport, a Warner Bros. promotion man. Because he was working there, he slipped Tritt inside for a few free minutes. The deal was simple: record quickly and leave. Tritt cut three original songs. But Davenport heard him. Instead of throwing him out, he invited him back. One rushed session became several. Over the next few years, they built recordings while Tritt continued working honky-tonks and sharpening the mix of country, Southern rock and blues that would become his identity. Eventually Davenport took the material to Warner Bros. in California. It reached the Nashville division, leading to a development arrangement and then a recording deal. Even then, nothing was guaranteed. Tritt’s early deal called for six recordings, with three intended as singles. A full album depended on one proving itself. The first test was “Country Club.” Released in 1989, it reached the country Top 10. That was enough. The album Country Club followed in 1990. “Help Me Hold On” became Tritt’s first No. 1, “I’m Gonna Be Somebody” reached No. 2, and the album eventually went platinum. A year later, It’s All About to Change pushed him further. “Anymore” went No. 1, the album eventually reached triple platinum, and Tritt became one of the major new male stars of early-’90s country. Success did not erase what had made him different. Tritt kept the Southern-rock edge, recorded with Marty Stuart and resisted becoming another interchangeable new-country act. In 1992, the Grand Ole Opry made him a member. By then, the contest that required that cheap little demo no longer mattered. Danny Davenport had heard something more valuable in that unfinished studio: a singer whose rough edges were exactly the part Nashville eventually learned not to remove.

Vince Gill – What The Cowgirls Do

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