Martina summed up the general consensus of both fans and the media when she told one audience on their tour together, "Y ou can say you saw them when."

But it all began on that day in 2006 when Hillary Scott's sultry alto, Charles Kelley's gritty tenor and multi-instrumentalist/ harmony vocalist Dave Haywood's musical overview first intersected. Hillary, whose parents are Grammy-winning country artist Linda Davis and accomplished musician Lang Scott, had met Charles at a downtown Nashville music spot-having recognized him from his MySpace page. She introduced herself, and they struck up a conversation that ended in an agreement to try writing together.

Enter Dave Haywood, Charles' friend since they met at Riverside Middle School in Augusta, Ga., and co-writer since they attended college together at the University of Georgia. Dave had moved to Nashville in March 2006 at his pal's suggestion, and both were staying at the home of Charles' brother, singer-songwriter Josh Kelley. Hillary came by the house, and over the ensuing months she, Charles and Dave fell into a fruitful songwriting partnership. "We held ourselves hostage in a writing room until the early hours of the morning every night," Dave remembers.

At first, the three weren't sure what exactly they were writing for-but it soon became obvious that Charles and Hillary produced a combustible chemistry as a vocal duo, and that Dave's instrumental prowess and harmony vocals filled out the picture perfectly. It helped matters a great deal that the three also sparked as friends, finding an easy balance of personalities. "I'm the analytical perfectionist, Hillary brings the silliness and the emotion, and Dave is the calming glue," Charles explains. "Everyone balances everybody else out."

Each also brought diverse influences into the collaboration, ranging from The Allman Brothers Band to Vince Gill, from The Eagles to Keith Urban, and from Gladys Knight to Travis Tritt. All those elements added up to something distinctly modern, yet grounded in old-fashioned gut-level passion. "It's like a Neapolitan blend of all these flavors," Dave says. "It's a really great marriage, musically and lyrically." Their old-school influences led them to choose an old-time moniker, inspired by a just-for-fun photo shoot in front of an Antebellum-style home: Lady Antebellum. ("There's not anything too terribly meaningful behind it," Charles admits.)

The three began posting demos on MySpace to see what kind of reaction they'd receive, and visitor feedback was immediately, overwhelmingly positive. Audience reaction was just as instantaneous when Lady Antebellum began playing small gigs around Music City. "It took on a life of its own," marvels Dave, who booked their first shows himself. "There was no plan, we just kept churning out as many songs as we could." Early fans soon took it upon themselves to bestow upon the trio the shorthand nickname "Lady A."

By April 2007, the group had signed a recording contract with Capitol Nashville and begun work on their debut with the aid of megaproducer Paul Worley and award-winning songwriter Victoria Shaw. The resulting album is a vivid document of the group's verve, versatility and vibrancy. Lady Antebellum's 11 songs-10 of which were co-written by the band-effortlessly capture the trio's musical interplay, emotional directness and all-for-one spirit. The chugging hit "Love Don't Live Here" (inspired by a breakup Charles had just endured) announces their intent from its opening moments, as the chiming guitars give way to Charles' gutsy voice, quickly seconded by Hillary's backing vocal. Throughout the album, the two lead singers shift easily between taking the spotlight and sharing it, whether they're trading off lines in the great tradition of country duet singers or supporting one another with sparkling harmonies.

The range of emotion on Lady Antebellum encompasses both the joyfully romantic "Love's Lookin' Good On You" and the desolation of the swelling ballad "All We'd Ever Need" (the very first song the trio composed together). Between those extremes is the driving "Long Gone," a display of attitudinal assurance from Hillary; "Lookin' for a Good Time," an irresistible come-on from Charles; "Slow Down Sister," a churning rocker with touches of Southern rock and Stax groove; and the pulsing "I Run to You," in which the voices circle one another tantalizingly before melding seamlessly in the chorus. Fans drawn in by "Love Don't Live Here" are about to discover just how much more there is to Lady Antebellum-and given the trio's breathtaking rise to newly minted star status, it's a sure bet that there are plenty of listeners out there waiting to do just that. "It still overwhelms me," Hillary admits. "I'm a true believer that what's meant to be will fall into place. When the ride starts, you've just got to jump on."

With a one-of-a-kind vocal chemistry that evokes the tradition of classic country, an up-to-the-second modern sound, and a songwriting partnership that's both timely and timeless, Lady Antebellum offers a combination that's both shockingly fresh and as familiar as an old friend.

In Nashville, Caroline met California-born Jennifer Wayne, who had also moved to pursue a solo singing career. Born into the Hollywood mix, Jennifer had always dreamed of singing country music. A nationally ranked tennis player from childhood, Jennifer's young life changed when after one of her grandfather's best friends, Merv Griffin, heard her sing and opened a record label just for her. As a result, she moved to Nashville begin recording. Sadly, Merv passed away soon after her arrival and the label was dissolved.

So Jennifer, like Caroline, found herself doing the music circuit, performing, writing and trying to be heard by record executives and A&R people. Although their musical genres were polar opposites (Caroline sand pop and Jennifer, country), they both began to write music together.

In 2007, the two young singers were approached by a reality show producer looking to create a show called, "All in the Genes." The premise of the show was to focus on the ups and downs of two women from famous families. As the granddaughter of John Wayne and a descendant of Daniel Boone, Jennifer and Caroline were perfect for the project.

The producer then decided that a third cast member was needed. After much searching, she found Tayla Lynn, granddaughter of Loretta Lynn, and also a solo singer.

Tennessee born and bred, Tayla was crawling around Loretta's bus before she could walk. "I can't remember a time that I wasn't in the wings in some town somewhere watchin' my "me-maw" and my daddy on stage. I've never wanted anything other than to be a singer and a performer," says Tayla.

Tayla, Caroline and Jennifer immediately hit it off and soon became inseparable. Although the three eventually realized that travelling down the reality show road wasn't for them, they continued to grow closer as friends, supporting each other through the difficulties of trying to break solo careers. Not surprisingly, the local music scene soon began seeing the girls as a trio since they were playing (as solo artists) on many of the same bills, and eventually even began to help each other out by singing harmonies to each other's songs. They also continued writing together.

It was around Christmastime 2008, when the idea really sank in that their music was stronger as a group, far more so than three solo artists. And although their singing styles still differed - ranging from pop to country and alot in between - there was no denying the music they created together meshed in a way that was unmistakably beautiful and unforgettable. They, of course, credit many mutual music influences they began to create, including Lee Ann Womack, Dixie Chicks, old country, 80's punk, Patty Griffin, among others.