As the title of Brent Cobb’s new album suggests, it’s not that he’s never rocked, just that it’s been a while.
Born and raised in Georgia, the singer-songwriter is an accomplished voice in contemporary American country music, but alongside his long-time band The Fixin’s, Cobb has recently rediscovered the heavy rock of his youth.
Ain’t Rocked In A While was worth the wait – some of the muscular, guitar-driven tracks wouldn’t sound out of place on Black Sabbath’s Vol. 4.
Was there a series of events that brought about the direction of your new album?
I knew I wanted to make this album with my live touring band because up to now I hadn’t done that – and that’s what comes naturally to them. I wanted to give everybody an album of reference so they’d know to expect more rock stuff at shows, and that it’s not always the laid-back, good ol’ southern songwriting.
Then when I started writing, subconsciously these songs started to develop the more I remembered what I grew up with: AC/DC, Black Sabbath, ZZ Top. I forgot all these songs that laid the foundations for me as a songwriter.
The track Power Man has a real ZZ Top vibe. What’s that one about?
Definitely the state of the world, but you can magnify that down to anything, whether it’s the music industry or people. You have friends for a long time, then somebody might get some success and forget how to be a friend. You realise you were a stepping stone because everybody is so hungry for power.
I’ll get into these philosophical stoner chats late at night, and we’ll go: “Alright, evil exists. But why?” I can’t fathom why people are so fucking cruel sometimes in this world, and the only thing I can ever think of is power.
You met your cousin Dave [Cobb, who has produced Rival Sons, Slash, Chris Stapleton and more] at a family funeral when you were a teenager.
His grandmother, my great-aunt, passed away and I was a pallbearer at her funeral. My grandmother gave him a six-song acoustic demo of mine after – she’s shameless! Apparently he was reluctant to listen to his little cousin who he just met, but he did, and two days later him and Shooter Jennings called our house phone. They wanted to fly me to LA to work on an album [No Place Left To Leave, 2006], and that is how it all began.
What was it like getting back together to collaborate on your album And Now, Let’s Turn To Page… [2022] years later?
He approaches production in the same way that I approach songwriting and we work really well together. I always hope to work with him, but I never think: “I’ve gotta make this album with Dave” – apart from that one, because of our family ties. I sent him a text saying: “So, when are we gonna make the gospel album?” All he responded with was: “Our family would be so proud”.
You bookend your new album with a pair of tracks called Beyond Measure. Is there some symbolism at work?
Sometimes I take these things for granted. Then sometimes I don’t and I completely cherish everything. Whenever I’m on that lonely road of wondering what it’s all for, it can get dark. So the concept is: I’m out here alone on this island, I’m gonna go find some people, we’re gonna rock, and I’m not the only one who feels this way. That’s why it’s bookended with the piano version at the top and then rock’n’roll at the end.
Ain’t Rocked In A While is out now via Ol’ Buddy/Thirty Tigers.
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