Mitchell Broodley’s path back to country music reads less like a comeback story and more like a detour that sharpened the writing. Raised in South Carolina and now based in Vermont, Broodley stepped away from an early Nashville opportunity years ago to build a life outside the industry. In the time since, he became a lawyer, helped lead a community hospital, raised a family, and eventually returned to songwriting in a basement studio built during the pandemic. The aquaponics experiment he started alongside it did not survive. The songs did.
On February 18, Broodley releases “Overtime Again,” his first modern country, non-holiday single following a surprise breakthrough that saw his debut release reach No. 1 on two Amazon Music holiday charts and climb to No. 6 on Amazon’s Holiday Best Sellers list. If that earlier success introduced his name to listeners, “Overtime Again” clarifies his voice.
The song centers on a long-distance relationship, using football imagery not as novelty but as emotional structure. The ticking clock becomes the villain. The final whistle looms. Overtime represents the fragile hope that love might bend time, even briefly. Broodley sings from the perspective of someone who understands distance not as metaphor but as lived reality, and the performance carries that weight.
Musically, the track leans modern country without surrendering to gloss. The production favors clarity, melody, and steady build over bombast. Broodley writes, performs, and self-produces his material, often collaborating with Nashville musicians, shaping songs that feel lived-in rather than engineered for trend cycles.
What distinguishes “Overtime Again” is its perspective. Broodley is not chasing youth or reinvention. He is writing from the middle of a full life, where responsibility and longing coexist. The song’s central wish is simple and universal: just a little more time. In country music, that remains one of the most reliable truths.
Featured Image: Artist Supplied
