Ben Chapman, Feet on Fire Ben Chapman kicked off 2025 by throwing a New Years Eve party. For a road warrior who'd spent the previous three years in a whirlwind of activity — writing songs for his heroes, making his Grand Ole Opry debut, and releasing three acclaimed albums of country-fried funky-tonk — there was a lot to celebrate. Still, nothing could have prepared him for the months that followed. "On January 3rd, we found out that Meg was pregnant with our son," he remembers, talking in the southern drawl he picked up as a kid in LaFayette, Georgia. "We got married in the spring and welcomed our baby boy in the fall. It was a wild and beautiful year, to say the least. I wrote and recorded Feet on Fire in the middle of it all and held nothing back." His second collaboration with Grammy-nominated songwriter and producer Anderson East, Feet on Fire is an album about leaving old patterns behind, making room for new beginnings, and searching for stability in an ever-changing world. It's Ben Chapman as we've never heard him before: his back against the wall and his heart full, determined not only to meet the challenges up ahead, but to write about the process, too. "They say a record is just that: a record of how we experienced a moment in time," he says. "This body of work feels like a true snapshot of the year I became a man." Before building a family with fellow singer/songwriter Meg McRee, Chapman built a legacy with his swampy, southern spin on American roots music. He was a country boy who looked outside the genre for inspiration, fueling his records with R&B grooves, Stax-sized soul, and Allman Brothers-worthy jams. At the center of that sound was Chapman's songwriting — a skill he'd been cultivating since his teenage years, where he was taken under the wing of fellow LaFayette native Channing Wilson (co-writer of Luke Combs' chart-topping "She Got The Best Of Me") and introduced to the catalogs of Guy Clark, Townes Van Zandt, and John Prine. Chapman learned how to tell a story, set a mood, and breathe new life into his classic influences. Before long, he wasn't just writing songs for himself; he was writing them for others, too, penning tunes for acts like Hayes Carll, Muscadine Bloodline, Brent Cobb, Marcus King, Jake Owen, Shelby Lynne, and Flatland Calvary. Some of those friends repaid the favor by performing at Peach Jam, an ongoing series of communal, guest-filled shows that Chapman launched in his adopted hometown of Nashville. When he wasn't in Nashville, Chapman could usually be found on the road, sharing shows with country titans like Lainey Wilson, southern rockers like The Marshall Tucker Band, and Americana contemporaries like Red Clay Strays. It was there — headed from one city to the next, fueled up on wanderlust and truck-stop coffee — that he began writing some of Feet on Fire's heavier songs. It's not hard to hear the highway's influence on tracks like the guitar-driven "Don't Give It Away" and "Feet on Fire," where Chapman sings about a road warrior's travels against a backdrop of Pink Floyd atmosphere and Crazy Horse crunch. "Those songs have teeth!" he says proudly. "We went heavy on the guitar tones and leaned into the energy of my shows." Even so, Feet on Fire delivers some of its hardest-hitting punches with the songs Chapman wrote back at home, with a ring on his finger and a son on the way. "I'm the kind of guy who gets up and eats the same breakfast every morning," he admits. "All of a sudden, I learn that my world is changing forever, and it's so beautiful but so mind-boggling, too. That's where songs like 'Baby Blue' came from. It's the truest song on the record, and it's about the nervousness, excitement, and anticipation of welcoming George, our son, into the world." With its layers of piano, organ, and mellotron, "Baby Blue" could've been a long-lost classic from Elton John's golden years. Chapman co-wrote it with McRee, along with collaborative tracks like "Missing You" (a Otis Redding-worthy ballad), "Out in the Country" (a laidback tribute to the landscapes that bring us peace), and the self-reflective roots rocker "Everything's Different." Other songs were co-written with Anderson East, who first teamed up with Chapman for 2024's Downbeat. "I'm proud of the writing on my first two records, but things started to change once I began working with Anderson," he says. "He pushes you and gets you a little uncomfortable, and sometimes, that's when you make the best art. He's helped me find my sound." East joined Chapman in the studio, too, pulling double-duty not only as Feet on Fire's producer, but as one of its guitarists, too. Backed by a band of A-list instrumentalists, they captured the energy and electricity of Chapman's live show by focusing on live-in-the-studio performances, capturing each song with two or three takes. "People always used to say my live show felt so different from my recorded music, and I was getting tired of hearing that," he says. "I've been chasing the vibe of my live show for the last couple records, and with this record, we finally caught it." They experimented with fuzz pedals and overdriven guitar tones, too. It was a move that nodded not only to the soundtrack of Chapman's childhood, but to his willingness to step outside the box, too. "I grew up on the Grateful Dead and Dark Side of the Moon," Chapman adds, "so I wanted to pour some of that inspiration into these tracks. This record asks you to let your hair down. It takes some fun sonic risks. At other moments — like during 'Out in the Country,' which has that peaceful groove and slow-as-molasses attitude — it sounds simple and southern. It's cohesive but it's all over the place, too, in the best way possible." As 2025 gave way to 2026, Chapman stayed home with his family. There was no opportunity to throw a New Years Eve party this time around. Feet on Fire captures that transition from the carefree spirit of youth to the responsibilities and realities of manhood, highlighting the difference that one year — and 12 sharply-written songs — can make.