Charles Kelley’s song “Lonely Girl” deals with the relationship between heartbreak and listening to music, promising himself as a healing balm for someone in the middle of it. Appropriately, the first scene of the “Lonely Girl” is a hand dropping the needle on a spinning turntable with his record.
Directed by Shaun Silva, the “Lonely Girl” flips quickly through a series of stylish, muted settings that alternately feature Kelley and the titular female. She perches on the kitchen counter, reclines beside the bathtub and sprawls across a luxurious shag rug with her headphones on. With the actress’ varying states of undress and the mod look of each scene, the video recalls Fiona Apple’s grimy “Criminal” clip from 1996, without the moral and legal ambiguity. In the end, Kelley’s sly promises of comfort pay off because the woman has shaken off her blues and begun dancing with joy.
Like “Lonely Girl,” much of Kelley’s solo debut The Driver deals with making music and its effects. The title track reflects on the whole traveling circus and dreams needed to power an operation, while “Leaving Nashville” examines the ugly side of success and slide into obscurity.
Kelley’s bandmate Hillary Scott will release her own solo recording, Love Remains, on July 29th. Recorded with her family, Love Remains takes Scott back to her roots in gospel and Christian music. Even so, Lady Antebellum has returned from a brief hiatus to play numerous festivals this summer and has already begun working on music for a new album.
An ‘off year’ for us is two albums and 30 shows in the middle of the summer together as a trio. . .[So] we’ve been working and writing some already,” Scott told media recently. “We have the fall blocked off for the bulk of it so we’re not in a rush, because we want it to be right.”