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Keep Coming Back
Marc Broussard
Listen to new single "Evil Things"
“My fans have been asking me for years,” said Marc Broussard, his road-
That gift has been a matter of common knowledge since 2002, when Broussard released his debut album, Momentary Setback, which he recorded and released independently at age 20. Nor was it a secret before then, going back to those lucky witnesses who heard him belt “Johnny B. Goode” onstage at age 5 while sitting in with his father’s band. Pretty much throughout his life, Broussard has been tapped as a talent to watch.
Even so, Keep Coming Back is the pivotal album of Broussard’s rocketing career. Why? Begin, the artist advises, with the musicians; buttressed by Music City session veterans Tim Akers on keys and Gary Burnette on guitar, all the players are members of Broussard’s road band, seasoned by the same experiences that have shaped him as an artist and performer.
“My road band and my studio band are one and the same with a few select additions,” Broussard says. “I’ve always recorded with them. No producer I’ve ever worked with would ever have a problem with them, because they’re just that good. Plus, they’re not only the best musicians I’ve ever worked with but also some of my dearest friends in the world.”
That connection between all participants is essential on Keep Coming Back – and that, in turn, lends that much more weight behind Broussard’s decision to play a greater role working with co-
“But what you hear on Keep Coming Back is actually what we played in real time,” Broussard continues. “The musicians just play, and you can tell on the tape that we were really having a good time out there. That’s another thing: We tracked it all to 2”analog tape because analog is pleasing to the ear, and it gives you a quality that digital recording can’t duplicate.”
Everyone was so jazzed at these sessions that eight of the album’s dozen tracks were first takes. The vibe in the studio was more like a gig than a session. Each part – those meaty B-
“None of these tunes were rehearsed,” he reveals. “I’d demoed most of them, whether with acoustic guitar, a drum loop with keyboards and vocals, or whatever. I’d put it up on iTunes, everybody would listen and write a chart, and then they’d get back to the studio and play. And we had a ball. We had the Nashville String Machine on a couple of cuts and a seven-
The road to this point has been longer than one would expect from an artist as young as Broussard. Yet already he has toured with giants – Maroon 5, Dave Matthews Band, Willie Nelson, O.A.R. and Bonnie Raitt, among others. He has honed his writing chops through collaborations with some of the top song craftsmen in the business. He has won ovations at South-
His philanthropic cred is strong too, through donating all proceeds from the sale of his Bootleg to Benefit the Victims of Hurricane Katrina, undertaking a month-
All of that, the spiritual as well as the musical, contributes to Broussard’s emergence as a more complex, seasoned yet emotionally vital artist on Keep Coming Back. And his depth in American musical tradition confirms that as a member of the Atlantic roster, he has come home to a place that can nurture his continued growth for years to come. The process began, in fact, a few years ago, when the late Ahmet Ertegun first heard a young Broussard perform with Solomon Burke during a tribute to Wilson Pickett at a Rock and Roll Hall of Fame dinner – and promptly offered him a spot at the upcoming Montreux Jazz Festival.
“Keep Coming Back is me writing what I want to write at this moment in time,” Broussard says. “And I’m very content to be able to do this at Atlantic Records, where the tradition for real music is so strong. I do wish Ahmet was still alive; I know he and I would have gotten along really well. But I also know Atlantic is the right place to be and the right time for Keep Coming Back.”
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