Ben Chapman Settles Down Lyrically, Draws on Country Guitar Picking and Honky Tonk on ‘Feet On Fire’ (ALBUM REVIEW)

Since his last record, Ben Chapman got married and had a kid, so his perspective as a songwriter has naturally pivoted to his new role in the world. And while his music is still rooted in an inspired mix of country guitar picking and honky-tonk funk, lyrically, Feet On Fire travels into new territory for Chapman as he searches for stability after a life lived on the road. That new direction is laid out on the opening track, “Everything’s Different,” with an organ leading the way before Chapman’s deep, distinctive Southern drawl kicks in.

“Out in the Country” is a laid-back, delicately strummed ode to carefree living outside the city that would have fit nicely alongside any of the tracks on his first two records. Lyrically, it’s not treading any new ground, but given Chapman’s breezy delivery, it’s a solid song, nonetheless. But it’s on an amped-up track like “All Day” where Chapman really separates himself from his contemporaries, delivering an enthusiastic yowl of lyrics — sounding like Georgia’s version of Joe Cocker — over boogie-woogie piano and organ. “Baby Blue,” the ballad that immediately follows, is worlds apart both stylistically and thematically, as he sings about the son about to enter their lives over a lightly strummed guitar and a mellotron that gives the song a gauzy, dreamlike feel. “Takes A Dream” is just as gentle, even with a slight country shuffle that kicks in midway through the song.

The title track, led by the slow growl of an electric guitar, finds Chapman’s vocals flipping back to a more primal delivery. Along with its bluesier rock sound, it’s also one of the darkest songs lyrically. “You Say Jump” continues the bluesy streak for Chapman, and though both are decent enough songs, they sound a little out of place with everything that comes before and after them.

“Lucy” finds Chapman exploring his funkier side, with the song drenched in organ and inspired bass runs. The album closes on “Sweetheart (Ain’t It Hard),” a tender ballad (with sweet backing vocals from Meg McRee) about breaking up and moving on. His heartbreaking delivery begs for comparisons to Otis Redding and Sam Cooke.

Even when Feet On Fire occasionally wanders stylistically, Chapman’s voice and conviction keep the record grounded. It’s an album about settling down without losing the restless spirit that made him such a compelling songwriter in the first place.