Kenny Chesney's “Born”: All 15 Tracks Ranked

Another guitar-fueled party anthem, this track describes spontaneous road trips from Knoxville to Myrtle Beach in an RV without air conditioning, jumping off cliffs and losing track of time on a neon Vegas night—all the while, the Chesney argues that many times the improvised dangers are worth the memories.

A sweet, steady groove propels this easy, easy story as he enjoys a car ride with his love. The top of the car is down, the radio has just the right song on, and she knows he would do anything for her.

“What good are the wheels if they don't roll,” Chesney sings over crashing drums and guitar grooves, on this track written by Tony Martin and Wendell Mobley. This song is one of the most beloved live songs, pulsing with power and serving as a tribute to all pleasure seekers who are not deterred from chasing a pleasant feeling in all corners of the globe.

Brett James, Tim James and Danny Myrick wrote this rock-tinged track perfect for community concert singalongs. Chesney hits a comfortable groove here as he sings about life in “good vibes, standard time”, nods to Shakespeare, stunning sunsets and good drinks.

A track of B-3 instrumentals piles over a grid of drums, bass and guitar in this meditation on the heart-wrenching push-pull cycle of an on-again, off-again relationship. “When we say it's over and then we say why it's not coming/ We get lost and we drink too much/ The morning after we think too much,” Chesney sings, his voice oozing with anxiety, passion. and disappointment. Chesney wrote this track with Josh Osborne, Shane McAnally and Greylan James.

A perfect mesh of pounding percussion, endless singalong choruses and stage-ready, blistering rock riffs draw listeners deeper into the psychological, human recesses of every verse of this high-octane group track and album opener. “We all want to know what we're made for,” he sings, a nod to how the humanity of searching for purpose every day can be joyfully sought after.

Chesney's current Top 20 Billboard Country Airplay hit was written by HARDY, Zach Abend and Hunter Phelps, with HARDY also providing backing vocals on the track. The first verse seemingly paints the scene of the beginning sparks of a fleeting romance, but from the chorus and the second verse it's clear that the chance encounter turned into something more, with a story arc that takes a small twist at the end when it's not just the lover she takes him home, but the couple's newborn child.

Seemingly a continuation of the album's earlier musings on these hot and cold relationships, here he begins to flirt with thoughts of ending the relationship for good, knowing that the back and forth ultimately isn't the best for either of them. Tucker Beathard and Kyle Fishman wrote the song, while Laci Kaye Booth provides smooth, silky vocals.

Written by Ben Hayslip, Rhett Akins and Chris Stevens, this track combines guitars, Wurlitzers and bass for a feel-good mash-up that combines good whiskey and cigars, old guitars and nights spending a lover around the dance floor with classics Motown tunes. “If I haven't done it all, it means I haven't done it yet,” he sings. Like many songs on this album, it claims its mission is to create memories that it can look back on fondly.

This light, slightly tropical groove of a song centers around a night of free spirits drinking and dancing, writing their names on money and sticking it to the walls, all with an open-minded nod to see where the night might lead. “If you can catch the feelings baby, it's not your fault/ Blame it on the salt,” she sings on this charismatic, laid-back song. ERNEST provides background vocals on this track and co-wrote it with Matt Dragstrem and Ryan Vojtesak.

Backed by steel guitar and tambourine, this quirky, upbeat number finds him reveling in being someone else's guilty pleasure – someone's first port of call when they need a distraction. “You only want me when you're drinking/ And you've got a mistake you wanna make again,” he sings, his delivery sounding flirty and unfazed by the non-committal nature of romance.

Written by Brent Cobb, Charlie Worsham and Jaren Johnston, this track features a charming beat and a relatable story of finding refuge among strangers in a bar from “walking” through the rain of life's great storm, where some sometimes love is “all oyster, no pearl.” Some subtle, poetic storytelling and Chesney's singing style always translates these kinds of stories so well.

Layers of electric and acoustic guitars and synths heighten the sense of anticipation here as she sings of a possible love story still in its early days – or as she sings, “This could be nothing or this could be serious.” This piece simultaneously encapsulates the loneliness, hope and hunger of two souls ready to overcome old wounds. Chesney wrote this track with Josh Osborne, Ross Copperman and David Lee Murphy.

One of the most heartfelt, stunning ballads on this album is this vulnerable, soul-crushing piece of forgiveness and acceptance, which Chesney wrote with Mike Reed. He has long since given up heartbreak and the hurt has softened into a love that accepts the relationship for what it is.

“The way I love you now is different than it used to be/ It's in my brokenness It's what the cure does,” he sings here.

Over the course of his last few albums, Chesney recorded some great ballads and midtempo tributes to loved ones who have passed, such as “Knowing You.”

“Faith is left to heal what tears can't touch/ You're not gone, you just don't see,” she sings on this lovely piano ballad, written by Mike Reid and Gary Burr. As always, Chesney's top-notch vocal skills infuse this track with more warmth, excitement and hope.