Ben Chapman’s Feet On Fire (Soundly) documents a year of seismic personal change that includes his marriage to fellow singer/songwriter Meg McRee and the birth of their first child. With the help of songwriter/producer Anderson East (Lukas Nelson, Red Clay Strays), the Georgia-bred, Nashville-based artist’s fourth LP draws inspiration from classic Stax soul and R&B as much as the psychedelic and jam-band traditions, harnessing the energy and spontaneity of his live performances while nudging his sound in fresh new directions.
In a recent interview with MAGNET’s Hobart Rowland, Chapman touched on fatherhood, working with a Grammy-nominated producer (again) and why he’s never played by Nashville’s rules.
Feet On Fire documents the year you “became a man.” How has marriage and fatherhood reshaped the way you approach songwriting?
I’m more focused while writing because I know there’s not as much time to waste. I’m not saying I rush through a write nowadays, but I’m a bit more prepared and intentional than before. Ever since my son was born, I’ve never found myself lacking inspiration or an idea. This whole life shift has really helped me live in the moment and pay attention to the little things—and that’s where the best songs live.
This is your second collaboration with Anderson East. What’s developed between the two of you creatively since working together the first time?
For the Feet On Fire sessions, we got right down to business and didn’t have to go through the “dating” phase we went through while recording Downbeat. Anderson understands what I’m hearing in my head, but he can also push the boundaries and take it somewhere I never could on my own. To me, that’s really what a producer’s job is: to take you out of your comfort zone and push your limits. He’s really helped with evolving my sound and making everything sound fresh and exciting.
You’ve cited the Grateful Dead and Pink Floyd as touchstones. How did both shape the sound and/or spirit of Feet On Fire?
I drew inspiration from the Grateful Dead’s carefree attitude and Pink Floyd’s sonic originality. Both bands have never been afraid to go against the norm and don’t care if it’s not everyone’s cup of tea. I know there’s going to be people who might not like Feet On Fire. But those who love it are hopefully going to be lifelong fans. I think that’s the gamble you take with doing something original and taking chances on each album cycle.
The title track and “Out In The Country” feel wildly different sonically yet still connected. How is this album a reflection of the different sides of your personality—or even the different chapters in your life?
Though Feet On Fire is sonically painted with broad strokes, each song serves a purpose in making the record what it is. It’s the most honest body of work I’ve released so far, and each song has its own story. I try to match the story of the song with the sonic theme—I feel like that’s why some of these songs are so different. Anderson and the band did a great job helping me tell these stories while still making the whole project cohesive.
Nashville often rewards artists who stay within clear genre boundaries, but you seem determined to avoid them—even when writing songs for Flatland Cavalry, Muscadine Bloodline and others. How have you dealt with any pressure or “suggestions” to simplify or narrow your sound?
No disrespect to Nashville, but I’ve never been one to play the game by their rules. That said, I wouldn’t want to live anywhere else because I still think it’s home to some of the best songwriters and musicians in the world. But the industry often rewards artists who are better at a “brand” or social media than they are at making music. That’s why I’ve never paid too much attention to any outside suggestions or the typical, “Well, what kind of music is this?” comments. It might take longer to get where I want to be in this business, but I having artistic integrity is worth more in the long run.
See Ben Chapman live.