I remember exactly where I was the first time I heard the opening, a cappella line of “When It Rains It Pours.” It was a sun-drenched Saturday, late afternoon, and I was driving north on an endless stretch of interstate, the kind of highway where the asphalt shimmers and you feel like the only person left on earth. The radio crackled to life, and then Luke Combs’ unmistakable voice, raw and full of coiled energy, cut through the silence: “Sunday mornin’, man, she woke up fightin’ mad…”
It’s an indelible opening, a pure narrative hook that plunges the listener instantly into a scene of domestic friction. It’s a trick used by storytellers across genres, but in country music, it’s a high-stakes bet. You have seconds to prove your song has a story worth hearing. Combs, along with co-writers Ray Fulcher and Jordan Walker, didn’t just meet that challenge; they obliterated it with a wry, cinematic script delivered with a backbeat swagger.
This piece of music, released in 2017, serves as the triumphant second single from Combs’ debut major-label album, This One’s for You. It was the moment the industry pivoted from recognizing him as a talented newcomer (following the success of his debut single “Hurricane”) to crowning him a genuine, chart-dominating force. In the artist’s burgeoning career arc, this track marks the spot where his brand of relatable, blue-collar storytelling, fused with a driving, ’90s-country-inspired sound, fully locked into place. Produced by Scott Moffatt, the sound is big, clean, and radio-ready, yet still retains a palpable sense of live-band grit.
The arrangement of “When It Rains It Pours” is a masterclass in controlled momentum. It opens with that isolated vocal, followed by the snap of the drums and a pulsing bassline from Dave Francis. The rhythm section establishes a medium-fast, almost jaunty tempo, perfectly underscoring the shift in the narrator’s mood from exasperation to euphoria. This isn’t a ballad of heartache; it’s a high-five anthem dressed up as a country song.
The guitar work is foundational, blending the old-school textures of country with the punch of rock. Sol Philcox-Littlefield’s electric guitar parts are crisp and tightly coiled, primarily filling the mid-range with sharp, riffing counter-melodies and subtle, distorted chords that drive the verses. Moffatt, who also contributed electric guitar, ensures the mix is always pushing forward. Crucially, the presence of Gary Morse’s steel guitar—sometimes a lyrical pedal steel, sometimes a crying lap steel—provides that essential country timbre, weaving melancholy threads into an otherwise relentlessly upbeat song.
Consider the narrative arc: a man gets dumped, his life should descend into misery, but instead, it spirals gloriously upward. The ex-girlfriend’s departure is the catalyst for a cascade of small-scale miracles. Winning $100 on a scratch-off, securing a free beach vacation, and the ultimate victory of getting his lucky fishing hat back from his now-ex-future mother-in-law—it’s a humorously exaggerated wish-fulfillment fantasy. The genius lies in the detail and the delivery. Combs sings these escalating victories with a knowing, chest-thumping glee, his phrasing loose and conversational, making the listener feel like a buddy at the bar nodding along to a fantastic tale.
The production shines in its ability to manage so much information without feeling cluttered. Wil Houchens’ organ occasionally floats beneath the surface, a warm, Hammond-like hum adding gospel-tinged texture, particularly enriching the transition into the chorus. Unlike many modern tracks that rely on excessive layering, this song feels like a five-piece band playing live in a clean room. The drums, played by Jerry Roe, are mixed upfront, giving the entire piece of music a wonderful, propulsive energy.
The song structure is simple but highly effective: a series of short verses detailing the bad day turned good, followed by a punchy, list-like chorus that celebrates the streak of luck. The bridge, a brief moment of reflection and a final, satisfying dig at the ex, allows the band to pull back slightly before launching into the final, cathartic choruses. It’s a structure built for singalongs, especially on road trips when the sun hits that golden hour. For listeners who invest in premium audio equipment, the song’s carefully layered instrumentation rewards close listening, revealing the interplay between the various stringed instruments.
The humorous energy of the narrative is so infectious that it almost overshadows the skill involved in its creation. It takes a delicate touch to write a story about karma and good fortune without it sounding trite or mean-spirited.
“The key to its enduring charm isn’t the fantasy of the luck, but the simple, grounded triumph over a bad situation.”
The simple piano chords, often used as a harmonic anchor in the choruses, subtly reinforce the song’s traditional country foundation, even as the overall feel leans toward contemporary rock-country. This masterful blend of old and new is the signature of Combs’ early work. It’s what allowed him to resonate with younger fans while also paying respect to the genre’s elders. This balance is exactly what makes the song a cornerstone of the modern country sound.
For those attempting to master the intricacies of its rhythm and chord progressions, the availability of sheet music has made this a popular choice for aspiring musicians. The seemingly effortless groove requires considerable precision from the rhythm section, a testament to Moffatt’s tight production and the Nashville session players’ professionalism. It’s a story that feels authentically lived-in, a micro-story of modern rural life told with an old-school heart.
“When It Rains It Pours” isn’t just a hit song; it’s a statement. It’s Luke Combs announcing his arrival as the genre’s most compelling voice, a man whose ability to tell a simple, unforgettable story would define the sound of country music for the next decade. Go back and listen—it still sounds like the first glorious day of freedom.
Listening Recommendations
- Brad Paisley – “Alcohol” (2005): Similar witty, first-person narrative with a focus on simple, relatable subjects, delivered with fast-talking vocal flair.
- Eric Church – “Smoke a Little Smoke” (2010): Shares the same rock-infused, anthemic energy and tight, driving rhythm section characteristic of modern country.
- Dierks Bentley – “5-1-5-0” (2012): Features a similarly propulsive, upbeat tempo and a chorus built for shouting along in a convertible or a crowded bar.
- Brooks & Dunn – “Brand New Man” (1991): Echoes the ’90s country production values and the thematic concept of a life being suddenly and drastically turned around.
- Jon Pardi – “Dirt on My Boots” (2016): An adjacent mood of working-class swagger and straightforward storytelling with a strong emphasis on the classic country instrumental palette.
- Miranda Lambert – “Kerosene” (2005): Offers a different but equally compelling take on post-breakup catharsis and empowered, narrative-driven songwriting.