Brent Cobb and Them - Sucker for A Good Time Tour
622 Duling Ave
Jackson, MS, 39216
Doors 7:00 PM / Show 8:00 PM
This event is minors under 18 with parent or legal guardian
Watch & Listen
Brent Cobb didn't set out to write an album that feels and sounds like the place he grew up. But now that the grooves have been cut in his debut LP, Shine on Rainy Day, there's no denying the people, the places and the vibe of his southcentral Georgia home infuse almost every song.
"It just is Georgia," Brent says in his musical drawl. "It's just that rural, easy-going way it feels down there on a nice spring evening when the wind's blowing warm and you smell wisteria, you know?"
It's quiet down there where he's from in Ellaville -- "population 1,609" -- laid back and forgotten in the shadow of Atlanta and Savannah. The people have blue-collar values and believe in treating your neighbor like you want to be treated. They believe in curses and the dark finger of Fate and wield a sharp, dark sense of humor that sustains them through the hardest of times. Distant radio stations, roadside honkytonks made of cinderblock and back-porch picking sessions heavy on the backbeat predominate under Spanish moss-strewn live oaks and loblolly pines.
It was the perfect place to grow up.
"Lord, when I die, let's make a deal," Brent sings on the album's swirling thesis statement, "South of Atlanta," "lay me down in that town where time stands still."
Shine on Rainy Day is an album Brent's been trying to make for a decade, enlisting his cousin and fellow Georgian, Dave Cobb, the Grammy Award-winning producer whose Elektra Records imprint Low Country Sound is home to the album.
Brent wanted to record an album that felt Southern, though not the kind of Southern you might expect. Neither Southern rock nor mainstream country, the sound sits somewhere on the wide bandwidth that exists between the two. Cousin Dave helped him find the right vibe, full of blue-eyed soul, country funk and the kind of swamp boogie sounds that predominated pop in the 1960s and early 1970s. There's a reason Georgia was always on Ray Charles' mind, after all.
"I don't mean to get weird and be into, like, deep shit, but it really has got to be blood," Brent said. "When I write songs, it's almost like I didn't write them. You know it's just like this is happening right now and it just comes out. He's the same way in the studio. He's like, 'Put this right here and play it like this,' and you're like why? And he's like, 'I don't know, it's just the way it's supposed to go.' That's exactly how I write songs."
Brent finds it a strange sensation to be so closely linked to someone. Though cousins, the Cobbs didn't know each other growing up. Dave's a little bit older than 29-year-old Brent and his father was the one brother who left the area and moved away -- to an island off the coast from Savannah. So when they first met -- as adults at an aunt's funeral -- Brent was wary. And a little bit of an ass.
"We're standing around outside and I was like, 'Man, we hear you're producing in L.A. What you produced?' just kind of like a jerk, really," Brent said with a laugh. "He told me Shooter Jennings' 'Put the O Back in Country,' and that floored me, man. Because me and my buddies working at a tree service, we'd get off work, somebody would get a 12 pack, we'd get stoned and listen to 'Put the O Back in Country,' man. We knew it was the cool country. We knew it was for real. Man, I mean it was the shit."
Brent's dad shamelessly slipped Dave a disc of six acoustic songs Brent recorded as he left town. Dave didn't really want to listen to it, but his wife, Lydia, convinced him to stick it in the car's player on the way to the airport. Not long after Jennings called and invited Brent out to Los Angeles.
He spent four months there, but after living through an earthquake, a drought, a near car-jacking and a drive-by shooting he returned home where he lived for about four months before an old acquaintance from the area, Luke Bryan, called out of the blue. Bryan invited Brent to stay with him and his wife for a week to write and get to know Nashville.
Not long after he returned for good and recorded a well-received EP that led to 3½ years on the road, touring with a band and opening for every big player in country. He decided that wasn't what he was looking for either, and began to focus more deeply on songwriting. He landed several cuts -- most notably Miranda Lambert's "Old Shit," Kenny Chesney's "Don't It" and Bryan's "Tailgate Blues"- while working on his own songs and searching for a direction for his long-delayed debut.
Meanwhile, Dave left L.A. for Nashville and began building a reputation as one of music's most exciting producers for his work with Chris Stapleton, Jamey Johnson, Sturgill Simpson and Jason Isbell. As part of his deal with Elektra, he conceived of a concept album called Southern Family and thought it only right his "bitch ass little cousin" have a part. "So I was like, 'I'll be there,'" Brent said. He contributed "Down Home" to the album and also mentioned the project to Lambert, who wanted in and sang the Brent-written "Sweet By & By," a standout on an album full of them.
It was during these sessions that the Cobbs began to notice a real connection in the way they would approach songs during the recording process. "It just felt like home, you know?" Brent said. "I made the comment, 'Dude, let's just do it.' So we did."
From the Nashville slice-of-life narrative of "Solving Problems" to the delicate and powerful interplay of acoustic and electric guitars on the stunning closer "Black Crow," the album feels like the people, places and sounds of Brent's life.
The album carries something of a Southern Gothic narrative, alternating between dark visions and self-deprecating scenes of black humor that bubble up in laugh-or-cry moments. He chose the album's title after a friend heard "Shine on Rainy Day" following a family tragedy and mentioned how powerful it was to him.
"When you have a bad storm that hits, the next day the trees are in full bloom and the grass is greener and lightning cleans the air up," Brent said. "My friend called me up out of the blue and said that song hit him so hard. It's talking about a rainy day, they're going through a real life rainy day."
Like "Shine on Rainy Day," the album alternates between light and dark. In "Black Crow," a doomed soul argues with a laughing crow sitting on a fencepost, "Black crow, I ain't a joke no more!," before earning a prison sentence in a corner store robbery. "Lord," he sings, "I can feel those spirits carrying me down" before Jason Isbell unleashes a devilish slide guitar line that feels like a Neil Young guitar solo.
The deliciously self-deprecating "Diggin' Holes" has that giddy AM radio/Gram Parsons feel with dancing music accompanied by dark lyrics that are both funny and painful. "I ought to be workin' in a coal mine/Lord knows I'm good at diggin' holes."
"Down in the Gulley" is a sour mash-flavored short story with a first line worthy of Faulkner or O'Connor: "My granddaddy was a good man -- no matter what the papers said." The dread-filled "Let the Rain Come Down" opens with visions of doom, a rattlesnake strung from a tree and a witch's curse: "She put a curse on me/Another on the river/And now my crops won't grow no more."
"Solving Problems" was written sitting on a balcony overlooking an especially historic corner of historic Music Row while thinking about Kris Kristofferson's "To Beat the Devil," which has a spoken word section that feels lifted right from the Row.
"The energy just feels crazy around here," Brent said. "I loved how Kristofferson would capture the present moment of his Nashville during that time. Nobody does that anymore."
"Country Bound" is the only song on the album not written or co-written by Brent. Instead, the song was written by his father and uncle in a far-off place called Cleveland.
"It was the first song I ever witnessed being written in my life," Brent said. "I was 5 years old and it was the first time I ever saw snow, too. We were up in Cleveland for Christmas. My uncle had been through this breakup and he was wanting to get the hell out of Cleveland and go to Georgia."
Brent knows the feeling, and after listening to Shine on Rainy Day, he hopes you get it, too. He has never been more proud of his work. After 10 years of searching and struggle, the LP sounds and feels exactly how he wants it to. Like home.
"It's not as good as it's going to get," Brent said. "But if it's the last thing that I ever do, if I died the day after it came out, then thank God I was able to record it because the songs and the production, it was everything I wanted to say. Finally."
Solo artist. Frontman. Behind-the-scenes songwriter. For more than a decade, Adam Hood has left his
mark both onstage and in the writing room, carving out a southern sound that mixes equal parts
country, soul and American roots music.
It's a sound that began shape in Opelika, Alabama. Raised by working-class parents, Hood started
playing hometown shows as a 16 year-old, landing a weekly residency at a local restaurant. He'd
perform there every Friday and Saturday night, filling his set list with songs by John Hiatt, Hank Williams
Jr, and Vince Gill. As the years progressed, the gigs continued — not only in his home state, but across
the entire country. Eventually even landing himself a three-year nationwide tour opening for Leon
These days, though, Hood is no longer just putting his own stamp on the songs of chart-topping country
stars. Instead, many of those acts -- including Little Big Town, Miranda Lambert, Anderson East, Josh
Abbott Band, Lee Ann Womack & Brent Cobb -- are playing his songs.
In 2016, Hood signed a publishing deal with Warner/Chappell Nashville and GRAMMY Award-winning
producer Dave Cobb’s Low Country Sound. All while remaining adamantly focused on his own career,
playing around 100 shows annually promoting third solo release, Welcome to the Big World, and now
his newest release, Somewhere in Between.
A showcase for both his frontman abilities and songwriting chops, Somewhere in Between shines a light
on Hood's strength as a live performer. He recorded most of the album live at Nashville's Sound
Emporium Studios over two quick days. Teaming up with friend and producer Oran Thornton (Miranda
Lambert's Revolution, Angaleena Presley's Wrangled) their goal was to create something that reflected
the raw, real sound of his concerts, where overdubs and unlimited takes are never an option. The result
is a record that reflects Hood's working-class roots, mixing the upbeat thrill of his roadhouse roots-rock
songs with the contemplative, stripped-down sway of his country ballads.
Joining him in the studio were guitarist Pat McLaughlin, bassist Lex Price, and drummer Jerry Roe. All
of whom captured their parts in just a handful of live takes while Hood simultaneously tracked his
vocals. Stripped free of studio trickery and lushly layered arrangements, Somewhere in Between is an
honest, story-driven record. One that’s both relatable and deeply autobiographical, with Hood writing
or co-writing ten of the record’s eleven tracks, alongside friends like McLaughlin, Brent Cobb -- who
also appears on the electrified "She Don't Love Me" -- Josh Abbott, Jason Eady, and plenty of others.
Somewhere in Between is an album that finally finds Hood telling his own story. A dedicated family
man, he wrote "Locomotive" — a heartland anthem, full of Telecaster twang and sunny swagger —
after watching his young daughter develop her motor skills while playing with a set of blocks. Balancing
his life as a relentless road-warrior, Hood penned highway ballad "Downturn" about a life filled with
wanderlust and long drives from gig to gig.
As a blue-collar songwriter, Hood shines a light on everyday experiences — from family and friends to
the thrill of Friday nights. Partly because he’s stuck to his roots. The native Alabaman still lives in the
Yellowhammer State and celebrates America's rural pockets with songs like "Keeping Me Here" and
"Real Small Town," two songs filled with images of main streets, open landscapes, hard times, and good
"It's southern music," he says, grouping Somewhere in Between’s wide range of music under an
appropriate banner. "That's what it represents: the soulful side of southern music, the country side of
southern music, the genuineness of southern culture, and the way I grew up. One of the t-shirts I sell
at every show simply says ‘Southern Songs,’ and It's a good summary of what I do. It's what I've always
$12.00 - $15.00
Tickets are $12 advance and $15 day of show.
This is a general admission, standing room only show. Any seating is general admission and available on a first come, first served basis.
Order tickets by phone at 877-987-6487.
There will be a $5 upcharge taken at the door for persons under 21.
**Show Presented in part by Capital City Beverage, Cathead Vodka, A2Z Printing & Find It In Fondren!