When Joe Nichols earned his first country hit in 2002, he followed it with a post-breakup song, “Brokenheartsville,” wrapped in contradiction.

The protagonist was in a dour period, but still delivered a sarcastic toast to his gold-digger ex, using a hooky, singalong chorus to mask the pain in the lyric. The song’s inherent paradoxes ultimately led to Nichols’ first No. 1.

Now that his 2022 Quartz Hill release, “Good Day for Living,” has returned him to the top 20 for the first time in nine years, Nichols is in career-reboot mode — and this follow-up single, “Brokenhearted,” is even more contrary than its 2002 predecessor.

“It’s filled with all kinds of irony,” he says. “It’s not lost on me that it’s a party song complaining about party songs. And for ‘Brokenhearted’ to be the title line, you know — here I am, a guy with the song ‘Brokenheartsville.’ That kind of title is made for me. It makes it seem like I was made to say it.”

Appropriately, “Brokenhearted” traversed a broken path before it finally found Nichols. Rhett Akins (“What’s Your Country Song,” “Honey Bee”), Marv Green (“I Called Mama,” “Amazed”) and J.T  Harding (“Beers and Sunshine,” “Different for Girls”) wrote “Brokenhearted” circa 2018 at Green’s office at THiS Music, which has since been shut down when founder/president Rusty Gaston moved to Sony Music Publishing. Harding arrived with a set of downtrodden potential titles, all of them a direct contrast to his energetic, colorful personality.

“Writing with Marv Green and Rhett Akins is not something I ever take for granted, so I came prepared,” says Harding. “I came in with some titles — and you know, I like to say my heart’s been broken more than the ice cream machine at the local McDonald’s. So I always have titles: ‘All My Future Exes Live in Texas,’ or something like that.”

The ideas weren’t necessarily clicking, but Akins was amused by their consistency, especially given the tone of the current country format. “I just made a joke, like, ‘You can’t be sad in country music these days, because every song is happy and everybody’s partying,’ ” Akins recalls. “It was totally tongue-in-cheek and a joke. And then we said, ‘Hey, let’s write it.’”

Green hit a chord on the guitar, Akins sang a line that became a key part of the chorus, and they dived into a barroom celebration centered on a protagonist who can’t find a country song that fits his dismal mood. Never mind that country music is — or was, a few decades back — the genre people could count on to commiserate in self-pity.

“This was no way in the form or fashion of a ‘Murder on Music Row,’” says Green, alluding to an Alan Jackson/George Strait classic that lamented the loss of traditional country. “This was more like ‘Where’s a sad guy got to go to hear a sad song?’ But at the same time, he’s smiling about it.”

“Brokenhearted” employs a semi-convoluted structure, appropriate given the consternation of the first-person character. It starts with the chorus — actually, with the back third of the chorus — instead of a verse, then segues into the full chorus before the first verse finally arrives 53 seconds into the track. In fact, it’s the only verse in the song. Following another round of the “Brokenhearted” chorus, it slides into an instrumental solo, leading to a bridge that sounds a little like a verse before one final presentation of its rather lengthy chorus.

“When you start with a chorus, it changes the structure of a song,” Akins notes. “You can wind up with four choruses if you’re not careful. You have to do something different in the middle.”

But even its opening was different. “Brokenhearted” starts with an a cappella cold vocal, particularly odd given that Akins spent part of the session churning out classic guitar riffs.

“Rhett Akins is literally a jukebox in cowboy boots,” Harding says. “He was playing every ’80s rock riff you can imagine. I couldn’t stump him — Van Halen, Mötley Crüe — but he kind of does it without laughing or saying anything, which makes me laugh, because he’s in a trance playing all these really great, iconic guitar riffs. I just remember all of this music and inspiration swirling around the room at the same time we’re writing this song, ‘Brokenhearted.’ ”

William Michael Morgan recorded a version in 2018, but it didn’t see much action, and Gaston continued to shop the party-flavored demo, featuring Akins on vocals. Midland and Tim McGraw both showed interest but never got versions into the marketplace. Meanwhile, former BBR Music Group founder Benny Brown formed Quartz Hill in 2020, recruiting Nichols to the label. He thought “Brokenhearted” was suited for the artist, who agreed.

“They sent me the Rhett Akins demo,” Nichols says. “I didn’t know anybody else cut it, and it’s normally like this. I don’t really know anything about [its history] until it’s on an album and somebody will be reviewing the album and tell me about it.”

Producers Mickey Jack Cones (Dustin Lynch, Jameson Rodgers) and Derek George (Randy Houser, Chase Bryant) ran a tracking session on Jan. 29, 2021, cutting it first after a lunch break to get the musicians’ adrenaline going. They toyed with an opening instrumental riff, but ultimately started the performance cold, mirroring the demo. In fact, they followed the demo rather closely.

“What made this song quirky and fun and a little more like a barroom is the fact that the structure wasn’t the same as every other song that’s out there,” says Cones. “So we did explore changing it up, just because it felt a little left-footed. But we realized the left-footedness of the track is what made it feel real and right.”

Drummer Jerry Roe played a major role in the song’s attitude with a fierce backbeat. It got a temporary percussive enhancement during the solo section — half-electric guitar, half-Scotty Sanders’ steel — with a computerized tambourine playing triplets underneath. Cones, George and Wes Hightower supplied tight harmonies later, though label deadlines limited Nichols’ ability to fully explore the lead vocal. He felt that he could better, but ran out of time and assented to the track with a promise that if they singled it, he could redo the vocal.

Sure enough, when it was teed up for radio, Nichols reminded Quartz Hill that he wanted another go at it — though once again, the deadline was tight. Cones wasn’t available to fly to Nichols’ Texas home to oversee the vocals, so he got Nichols to sing multiple versions, then compiled the best parts into a more aggressive performance than the original. Nichols dropped an unnecessary word here and there, altered his melodic approach to the end of a few lines and generally applied more swagger.

“It definitely made it better,” Cones says. “Especially when it’s going to be the single, and it’s going to be at radio, you want it to be as best as it can be.”

Quartz Hill issued “Brokenhearted” to country radio via PlayMPE on May 22, adding to the flood of upbeat country songs that it satirizes. “And I’ve written a lot of songs that it’s satirizing,” Akins says with a laugh.

Not that heartache and ballads are entirely removed from country. “We do have Apple and Spotify and whatnot,” says Green. “If that’s what you need, you can get there.”

In the meantime, “Brokenhearted” has the potential to provide timely balance for the format with a solidly country song, even if it’s not the tear-jerker that its name implies.

“It says out loud,” Nichols notes, “what a lot of people have said under their breath a little bit — which is ‘Let’s play some country music, man.’ Not too many guys left that are willing to do country music.”