A prominent CountryMusic band known for its slick country-pop production. It was founded in 2000 by lead singer Gary [=LeVox=], his second cousin Jay [=DeMarcus=] (bass guitar, piano, keyboards) and Joe Don Rooney (guitar). [=DeMarcus=] and [=LeVox=] first made themselves known as members of ChelyWright's road band, meeting Rooney after another musician in the band didn't show up.

Rascal Flatts signed with Disney's newly-formed country music label, Lyric Street Records, in 1999. The band led off its career with a highly successful album that produced four Top 10 hits. Next in the series came ''Melt'', which produced their first Number One hit, "These Days." The band's momentum has continued through six studio albums and one GreatestHitsAlbum for Lyric Street. Following the 2010 closure of Lyric Street, the band was to have transferred to another Disney label, but instead went with the independent Big Machine Records, also home to Music/TaylorSwift.

The band's sound is quite divisive in country music: although it was always much closer to pop than most mainstream country, they were generally met with positive reception on their first albums. Starting with ''Me and My Gang,'' the band's sound has become much more processed and reliant on bombastic guitar and strings, after changing {{Record Producer}}s from Mark Bright to Dann Huff. With the switch to Big Machine, their sound once again mellowed somewhat, culminating in their abandonment of Huff (except for one track) on 2014's ''Rewind''.

* ''Rascal Flatts'' (2000)
* ''Melt'' (2002)
* ''Feels Like Today'' (2004)
* ''Me and My Gang'' (2006)
* ''Still Feels Good'' (2007)
* ''Greatest Hits Volume 1'' (2008)
* ''Unstoppable'' (2009)
* ''Nothing Like This'' (2010) First album for Big Machine.
* ''Changed'' (2012)
* ''Rewind'' (2014)

!!Tropes present:
* AsHimself: The band appeared as themselves in an episode of ''{{Series/CSI}}'' which centered around [=DeMarcus=] suffering amnesia after getting shocked by his bass.
* BandOfRelatives: [=LeVox=] and [=DeMarcus=] are second cousins.
* BoyBand: The first album tried to cast them in this image: none of them played any instruments on it, and the songs were very lightweight and hooky. The sound has sort of stayed, but Rooney and [=DeMarcus=] began playing instruments on the second album.
* CarefulWithThatAxe: The TitleScream of "[[LyricalColdOpen BOB! THAT! HEAD!]]" It got to the point that some stations actually cut out the intro.
* CensorshipBySpelling: Used in "Backwards":
--> We sat there and shot the bull about how it would be
-->If we could turn it all around and change this C-R-A-P
* CommonTime: A surprising number of aversions: "I'm Movin' On," "Feels Like Today," "Skin (Sarabeth)", "Every Day", "Easy" (a duet with Natasha Bedingfield) and "Come Wake Me Up" are all in 3/4 or 6/8.
* DeclarationOfProtection: "I Won't Let Go" certainly has shades of this.
-->I will stand by you\\
I will help you through\\
When you've done all you can do\\
And you can't cope\\
I will dry your eyes\\
I will fight your fight\\
I will hold you tight and I won't let go
* DepartmentOfRedundancyDepartment: The liner notes to ''Rewind'' credit the production to "Rascal Flatts and Jay [=DeMarcus=]".
* {{Determinator}}: The subject of "Stand".
* DistinctDoubleAlbum: ''Greatest Hits'' came with a bonus EP of ChristmasSongs to coincide with its late-year release.
* FakeShemp: When on tour with Sara Evans in 2012, they often had her sing Natasha Bedingfield's part on "Easy".
* FanFlattering: "Here's to You":
-->It's the girls in the front row singin'\\
It's the boys with the wheels that bring them\\
Its lighters in the air and you guys up there\\
You're the heart and soul and the reason we do what we do\\
Here's to you
* GriefSong: "Why," which ponders the [[DrivenToSuicide suicide of a loved one]].
* HeavyMeta: "Backwards" pokes fun at the {{Dead Unicorn Trope}}s of country music by addressing the old joke about playing a country song backwards and getting one's dog, truck, wife, etc. back.
* HiddenTrack: "Skin (Sarabeth)" was a hidden track on ''Feels Like Today''. Somehow, radio stations discovered the song and gave it unsolicited airplay while "Fast Cars and Freedom" was climbing the charts, leading to its eventual release as a single after "Fast Cars" peaked. Later pressings of the album included it officially in the track listing.
* InTheStyleOf:
** "Me and My Gang" is a blatant emulation of Big & Rich's sound.
** The band wrote "Winner at a Losing Game" with the intent of making a song in the style of the Music/{{Eagles}}.
* LongRunnerLineUp: Same three guys since 1999.
* LyricalDissonance: "Prayin' For Daylight" sounds very bright and upbeat despite the subject matter about someone reeling from the failure of a relationship.
* LyricalShoehorn: "The last sacred blessing and, hey / Feels like today" in "Feels Like Today". Really? That was the best rhyme the writers could come up with?
* LyricalTic: Gary tends to sing a lot of "yeah"s and "ooh"s between words, particularly at the end of songs. And if he's not doing that, he's drawing out the last note melismatically. [[BreadEggsBreadedEggs Or singing "yeah" or "ooh" melismatically.]]
* MeaningfulName: Gary [=LeVox=] is a stage name, which means "The Voice." His real surname is Vernon.
* MelismaticVocals: A common criticism of [=LeVox=], even now that he's stopped oversinging, is that he doesn't really have the kind of voice suited for melisma.
* MoralGuardians: The music video for "I Melt" struck a few nerves due to a shot of Joe Don Rooney's naked butt.
* NewSoundAlbum: Their second Big Machine album, ''Changed'', seems to be hinting at this. Many fans consider the Big Machine era a return to form after the critically-derided bombast of their last few years at Lyric Street.
** ''Rewind'' also seems to be an example, as they finally ditched Huff (except on one track) in favor of producing either by themselves or in collaboration with rock producer Howard Benson.
* NotChristianRock: According to one of its writers, "I Won't Let Go" can be seen as being sung from God's perspective to someone who is struggling.
* PowerBallad: Most of their songs since "What Hurts the Most".
* ThePowerOfLove: "Unstoppable" has the lyric "Love is unstoppable".
* RecordProducer: [=DeMarcus=] has produced albums by James Otto (who is his brother-in-law), Music/{{Chicago}}, and [[Music/BrooksAndDunn Kix Brooks]].
* ShoutOut: In "Rewind", there is a line that says he wishes he could "try to talk Music/GeorgeStrait into giving us an encore" a double meaning, as this refers not only the narrator's desire to "rewind" a good night with his girl and do it all over again, but also a subtle plea for Strait to continue touring even after his last tour.
* SingingVoiceDissonance: Gary's fairly normal-range speaking voice is in stark contrast to his very nasal, high-pitched singing voice.
* SignatureStyle: They have a tendency toward songs that start off soft and quiet, usually with just Gary [=LeVox's=] voice and a piano. Then a soft chorus, medium second verse and chorus where the electric guitars join in, and loud, bombastic bridge/final chorus replete with a string section and lots of MelismaticVocals. [=LeVox=] himself has a tendency to end a lot of songs with a falsetto "ooh" or "yeah".
* StepUpToTheMicrophone: Gary lets Joe Don and Jay share the lead vocal on "Long Slow Beautiful Dance" and a rendition of "God Rest Ye Merry, Gentlemen" made for a multi-artist Christmas album. Joe Don and Jay also sang most of "Mary, Did You Know?" by themselves on Creator/{{ABC}}'s ''[[http://www.cmaworld.com/cma-country-christmas CMA Country Christmas]]'' in December 2011.
* TruckDriversGearChange: "Summer Nights" goes up a half-step twice at the end. By the final chorus, [[VocalRangeExceeded it's too high for even Gary to sing, and he noticeably sounds strained]].
** In an odd variant, "Easy" goes up a minor third (E to G) halfway through the second verse.
* UndyingLoyalty: "I Won't Let Go".
* VideoFullOfFilmClips: "Life Is a Highway" features several clips from ''WesternAnimation/{{Cars}}'', on whose soundtrack it was included.
* VocalEvolution: [=LeVox=] has always had a very high, nasal tenor voice, but for the most part he used it well. Come the Huff era, however, the production became so loud that he had to oversing just to be heard over the wall of sound his voice would often become a grating, whiny, over-sung squeal that often went off-key. Now that the production has been dialed back down with the move to Big Machine, he's gone back to his original sound for the most part.