Brent Cobb
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Brent Cobb


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"Brent Cobb"

3/29/2013 Club Bliss, Sullivan, MO. – This was not an intended shoot for me, and driving to Sullivan, MO., about 1.5 hrs from my home, 50 miles southwest of St. Louis, is not something I would plan unless I had a good reason. On this night, it was all bout supporting my cousin’s son, Marc, who plays bass guitar, and recently joined up with a Nashville singer/songwriter named Brent Cobb. Joined by family, we walked into Club Bliss, which sits behind the Sullivan bowling alley, and is one of 3 bars in town, the only one (I was told by the doorman) that features live music. If you put a hundred people in here, you’d be shoulder to shoulder. From the opening song, it was clear these guys were not a typical bar band. I could tell I was listening to seasoned players, multi instrumentalists, harmonies, dynamic, & original. Brent’s voice, has a real deal southern swagger, and sincerity that you can’t fake. I brought my camera along just to get some shots of Marc, and although there wasn’t a lot of light to work with, I was drawn into the realization I was witnessing a rising artist, on the road playing to anyone who would listen, during the ‘paying your dues’ stage of his career. Digging deeper into Brent Cobb, listening to his EP, then reading his bio, I discovered he has written songs recorded by Luke Bryan, Eli Young Band, Kellie Pickler, and others. He signed a song publishing contract with Carnival Publishing Group in Nashville’, but I can’t imagine anybody telling his stories through song, better than he, everything just felt right through his execution and delivery of his music. Brent is more Shooter Jennings than Rascal Flatts, his delivery and sound is traditional, yet sounds current. Just to throw a few curveballs at the crowd, during their 2 hour show, the guys broke out covers of songs by Lynyrd Skynyrd, Tom Petty, The Eagles, and even Pink Floyd. I’ll be rooting for this band for several reasons, but mainly because I hope Country music gets pulled back a notch, closer to where it came from than closer to where it’s headed. It’s OK if pedal steel guitar is heard on the radio, songs should be written to tell stories and not because it fits a formula, and humbled, nice people, every once in a while, deserve to be embraced, and eventually win. - / Kenny Williamson

"On The Edge: Brent Cobb"

On the surface, handsome Brent Cobb looks like the kind of artist who would churn out country hits comparable to those of Jake Owen, Chris Young or fellow Georgia boy Luke Bryan. But when Brent’s band joins him onstage or for one of his unplugged “Fireside Sessions” videos, the differences in sound couldn’t be more apparent. Banjo, mandolin and doghouse bass dominate, and his songs, whether hard-core country or middle of the road, possess a distinct sense of purity and integrity.

“I definitely want to always honor traditional country music,” he says, “but I think it’s more that it just feels right when it’s got that banjo and mandolin. I want to honor the history of the music, but I don’t try to do that so much as it just feels right for the song.”

Call it inspiration or even divine intervention, but Brent is nothing if not an inspired songwriter. “The one common ground—if I’m writing by myself, if I’m writing with a new person or if I’m writing with somebody that I’ve been writing with for a long time—is I have to be able to go to that spot where I don’t think too much. Let it come from nowhere,” he explains. “And when that’s happening, it’s not a mind thing. It’s really something else that is happening. It’s bigger than just sitting down writing lyrics on a piece of paper.”

But those lyrics don’t always come from nowhere. “Love on Me,” written with Jason Saenz, came from Brent’s past. “We sat down in a room and I got to thinking about my old days when I was a flirter.” He laughs and goes on. “I would say, ‘I’m about half-drunk, but you sure look good to me.’ And you’ve got to believe in it if you’re going to say something like that. I’ve done it and I haven’t been hit because it’s a charm thing.”

Recording a song like “The Good Ol’ Days” from his new EP is inspired, too. The song was recorded as unconventionally as he writes. “I just wanted to be sure we captured what the band does live,” Brent says. “We recorded it with two mics in the room and that was it. We just gathered around the mics and threw down. I think there was something to everybody being young and in that moment of the music, because I think all the timeless music that we know now, that’s how it was recorded.”

The bulk of Brent’s EP (a full-length project is due later this year) has the same scaled-back production, giving it an in-the-moment honesty. The fearless approach has garnered Brent a legion of celebrity fans, including Luke, Little Big Town, Kellie Pickler and David Nail, who have all recorded his songs. Likewise, regional touring acts such as Josh Abbott Band are chomping at the bit to take Brent on the road.

They’re solid endorsements, but Brent chalks it all up to the music and connecting with listeners. “I think it’s just rural music and it’s true emotions,” he says. “If you’re really writing an emotion, then other people feel that, too.” - Country Weekly

"The Brent Cobb EP Review"

When you get an endorsement from the likes of Luke Bryan and Shooter Jennings it gives you some confidence. That’s what seems to have happened to songwriter Brent Cobb.

After getting a cut on Bryan’s latest multi-platinum album it was time for Brent to see what he could accomplish as an artist.

The result is the new self-titled EP and the first single Love On Me.

You’ll hear the aww=shucks in the song. It’s a good country boy singing about life and love. It’s a good introduction to this new artist. You can tell he has something to offer the country fan out there.

Here is a song by song review of the new EP.

The Brent Cobb EP
The best songs here are the ones that don’t take life too seriously. It’s just good fun with a catchy country song. That’s what you’ll get with Brent Cobb and it is something that’s missing from country music right now. I think you’ll like it.

1. Diggin’ Holes
The first track sets the tone for the record. Life could be a lot worse than it is if you really think about it. That’s what this song is about. This guy just can’t stop diggin’ himself into holes, but at least he has a good perspective on it.

2. Love On Me
This one kind of has another upbeat feel to it. You get the sense that Brent enjoys life and likes writing about things that make people smile. It’s the first single from the new artist and people should love it. Fall in love with the single.

3. To Be Saved
Sometimes you just have to find your own way out there. The good life is out there if you go out there to find it. I like the melody and tempo of this one. It’s fun.

4. Good To Go For Cheap
These are all songs about life. It feels like Brent is just writing in the moment and I love that. This is a great song. It’s kind of laid back and introspective. The guy is just going with the flow even if things aren’t the greatest. Just enjoy it while you can.

5. Dear You
This track kind of snuck up on me. It’s over seven minutes long, which is an eternity for a country song. It’s actually pretty unique in that respect. I like an artist that goes outside the box. It sounds like this song is pretty personal. You’ll have to check it out for yourself. -

"Writing In Nashville Was Like Something Straight Out Of A Movie"

You will need a pretty detailed map of Georgia to find Brent Cobb‘s hometown of Ellaville. Reluctant to leave this small town, Cobb eventually made the move to Nashville where his talent was noticed by many. Travis Hill and Frank Liddell’s Carnival Music was the lucky company that snatched him up first and Cobb has landed cuts with major artists including Luke Bryan, about whom you’ll hear more in the interview, Kellie Pickler, Eli Young Band, and most recently the opening track of Little Big Town‘s Tornado album, ‘Pavement Ends.’

Brent also found time to work on his own project, a self-titled EP, and send his debut single, ‘Love on Me,’ to radio. His music is a mix of the old and the new, a fresh take on a traditional idea if you will, and free to be creative, he has delivered a very interesting and accomplished disc.

Read on to discover his story and for more information about Brent, visit

UCN: When did the EP come together?
Brent Cobb: We put it together at the end of last year, but it’s been a work in progress for a while. Everything was written over the last year so it’s all kind of the same time-frame.

UCN: The radio single you pulled off this was ‘Love on Me,’ and the first time I heard it I did think ‘Is this still allowed, this much fiddle and steel on the radio?’
BC: Yeah… [laughs]

UCN: What was behind that? Was it just what you felt the song needed?
BC: Yeah, I can’t say my music will always be that way, but on that song in particular it just felt like that sort of song. It just called for fiddle, mandolin and steel. It fit the song perfectly. We had the great Glen Duncan and Steve Hinson play on it. Steve is one of my favorite steel guitar players, you can’t put anything past him and he not make it sound great. It just felt right in the studio.

UCN: Did you get any reaction to that from radio? I mean, it sounds new but it’s still so traditional.
BC: There’s a station, the first one that added us, KMOG in Arizona, an independent radio station. They were so enthusiastic about it sounding like this, being reminiscent of days gone by, so, yes, we’ve gotten feedback about that. And even just yesterday, a fan on my facebook music page said that one of the biggest draws of my music is that it has fiddle and steel. I don’t know that it will always be that way either. I mean, on some songs that arrangement might sound like something crazy.

UCN: Speaking of days gone by, I remember you saying you always had music around when you were growing up.
BC: Yes, my grandma has a picture of my great-great uncles and cousins and they all just have their instruments, you know, their fiddles and their lap steel. It’s twelve of them and they’re all just hanging out together, so I know it’s been in our family for that long. And maybe you can’t quote me on this because I’m not sure, but we’re supposedly kin to Jimmie Rodgers, who was the first to be inducted into the Country Music Hall of Fame. I kind of hope that’s true!

UCN:, dude.
BC: I know! [laughs] My grandma is a historian so she has some way into this. I’m going to get on her about this. I know we’re at least kin to a Jimmie Rodgers, and he’s in this picture I am talking about, but that’s not the Jimmie Rodgers. But yes, to get back to that, music has just always been around, and it was on both sides, not just my dad’s side. My mom grew up in Cleveland, which is the home of rock ‘n’ roll, so all her brothers play, and I’ve just been around it all my life.

UCN: Do you even remember a time when you became interested in music, or was it always on your mind?
BC: Always. I remember walking with my sister and picking up a rock and I had this song…[sings] millions and billions and gillions of rocks, time after time after time after time. I mean, kids do that but I actually remember it still.

UCN: Yes, that’s quite impressive.
BC: That was the first song I ever wrote, I guess. I remember the day and even picking up the rock. Right now I pride myself, I don’t know how long I will be able to do this, but I remember every lyric to every song I ever wrote. I don’t even have to write them down. When I write them, they’re just there forever. And I always also remember the spot where I wrote it. I wish I could find something else that I did that with. I mean, if I could do this with math, I could be rocket scientist! [smiles]

UCN: Alongside listening to your family play music, who were the main artists you heard when you were growing up?
BC: The first artist that had a big impact on me was Elvis, and that was one of the first sets I ever got, a karaoke Elvis tape. My dad loves Elvis! Then the second album I got was The Black Crowes album, Shake Your Money Maker. He had a bunch of cassettes and I remember seeing the cover of that one and thinking ‘Man, they look crazy, this is going to be cool!’ I also remember a CD that had the live version of ‘Free Bird’ and ‘Can’t You See’ on it. My dad had this little Fender guitar and I remember finding those songs and then recording me playing over those tracks. It was terrible, I wasn’t even really playing the guitar. I would set it upright, turn it way up, and kind of hammer on the strings. I thought I was doing something that nobody had ever done before. [smiles] So, I guess, Marshall Tucker, Lynyrd Skynyrd, Elvis and The Black Crowes, they were stuff I was into. Oh, and Chuck Berry.

UCN: That’s interesting that it’s a mix of rock ‘n’ roll and southern rock. While the base of your EP is that traditional Nashville sound, there is this layer on top that’s not quite rock ‘n’ roll, do you know what I mean?
BC: Yeah.

UCN: I was trying to figure it out wondering is this influenced by the Bakersfield sound, no, not really, and it’s all quite unique.
BC: That’s awesome. Thank you, a lot. And now we’ll just see where it goes. Now that we’ve got the foundation, who knows which way it will go, maybe completely traditional or maybe just straight rock. I don’t even know.

UCN: That’s going to depend on what you write and what that needs, I guess. But switching to something else, how did Luke Bryan get involved in your career?
BC: That starts in 2006 when I made my first album. If I hadn’t been able to make that album with Dave [Cobb] and Shooter [Jennings], then I wouldn’t have been able to give it to Luke, and he wouldn’t have been able to be a fan of what I do, and he wouldn’t have been able to introduce me to everyone in town. That happened through us opening shows for him, with my first band which was just a cover band. My bass player gave him the CD and he just really liked it. He stayed on me about coming here, and I was reluctant to come here or go to L.A., I just wanted to live in Georgia. Finally I gave in and I called him but I was still like ‘I don’t want to move, man.’ A little bit of time went by and me and my dad were watching GAC one morning and Luke’s video came on. He told me to call him but I said ‘Nah, he’s too busy now,’ but then he called me the next morning, left me a message and told me to come here.

UCN: What was your initial impression on Music Row? You had visited here before I guess.
BC: Yes, when I was little, but I didn’t know…I thought Lower Broadway was Music Row.

UCN: So do a lot of people, I think.
BC: But thank goodness…[smiles]

UCN: Yeah, I know! [laughs]
BC: So, when I got here with Luke, it blew my mind. He took me to the top floor, to A&R, Larry Willoughby’s office. It was just crazy to me, I couldn’t believe it. We went to Warner-Chappell building and we co-wrote in the Liberace room with Jay Knowles. That was the first co-write I had here. I was just like ‘wow, I’ve seen this side of Nashville’, and I felt like I was in. It was like something straight out of a movie.

UCN: Surreal.
BC: Absolutely.

UCN: How long did it take for that to become normal?
BC: It took until about two years later when I actually signed with Carnival, and then after the first year of being signed with them, then I was finally like ‘OK, this is pretty normal.’ I don’t know why really. Luke was always really cool about the business. That week that I stayed with him, he was breaking it down for me, mechanical royalties, performance royalties and all that. We were just sitting in his driveway drinking beer and he was explaining all this stuff to me. I was just like ‘Man, how in the world do you know all this?’ I never really realized you could do this for a living, you know. It was strange to find out really.

UCN: If in your family music was just what was going on, you had no need to go seek it out.
BC: I guess so.

UCN: What were those first meetings like for you? I mean, he can take you to the door, but you still needed to go sell yourself.
BC: It just really depended on how I was that day. For publishers, the very first meeting I went to was actually with Carnival and that morning I wasn’t nervous, everything just went right. I had my coffee, I guess. [smiles] I was really comfortable and I walked in there and said ‘I just wanted to let you know I’m going to play you some of the best songs you’ve ever heard.’ [laughs] It was funny and we just got along, you know. But then the next one was different. I walked in and felt shy and didn’t feel like anything I said would have come out right. I sat down and played the most depressing songs you’ve ever heard. So he was like ‘I don’t know, I can see you doing something more but I don’t know if you are what we are looking for.’ I knew I was blowing it but there was nothing I could do. I’m kind of still that way, when I meet people now. I don’t know why. Maybe it’s part of being a songwriter, we’re all crazy… [smiles] But maybe if we weren’t we wouldn’t write those songs! [laughs]

UCN: I actually think that’s true. [smiles] I have friends going ‘I sometimes wish I could be a little more normal…but then I think I couldn’t create things like this.’
BC: I swear I believe that!

UCN: How did you develop your way of writing?
BC: It really freaked me out at first writing with strangers because I always try to write things that I have lived or experienced. And really, it’s kind of the same like I just said, if I walk in and I feel immediately that I’m not in it, or it’s someone trying to write a song that I can’t feel at all, I just shut down and freeze up. Bu then on days where I can just do my thing, it’s great. I have no control over it. But if I don’t feel it, I try not to write it.

UCN: Oh and they understand, they’ve all had days like that.
BC: Yeah, everybody does.

UCN: Unless maybe Dallas Davidson who I think even writes hits in his sleep. [smiles]
BC: And hit after hit after hit. [smiles]

UCN: Of your songs, ‘Diggin’ Holes,’ I really like that one! You wrote that with Casey Wood?
BC: You know Casey?

UCN: I’ve met him at rounds at the Bluebird a couple of times. He’s so good.
BC: He’s awesome! He’s the real deal. He even had his time here as an artist. He came here for a while, and then he left for a while, built a house, started a family and then he came back. It’s just a cool story. We wrote right after he got back to focus on writing. He came in that day and he was just on fire. We talked for a long time about his brother in Kentucky, and about both of us sort of being in the dog house a little bit at that time with our ladies… [smiles] We kind of threw both ideas together. He said his brother played music but had wanted to stay in Kentucky because he was good at diggin’ holes. I let him finish talking and then said ‘Man, we gotta write that,’ but then about being in the dog house. After that it just fell out.

UCN: Where did ‘To Be Saved’ come from?
BC: You know, in life sometimes you just kind of get off track and you feel like you need straightening up a little bit, when you have a couple of those days where you feel like you’re not doing right. It was one of those mornings when I woke up, and I wasn’t writing anything by my-self then, and I needed to feel something that I wrote 100%. So I just started strumming my guitar and wrote that. That one took a couple of hours to finish. I just wanted to write about wanting to be saved and do right.

UCN: I like the idea in ‘Good to Go for Cheap,’ I like the idea of a party song where the character is not actually going to the party. [smiles] Is that something that actually happened?
BC: Yeah, it was when I was working at Walgreens and trying to work with Carnival. I was sit-ting in the house one night and all my buddies were hanging out but I had to go to work at 7 in the morning. All my friends were out and I was just reminiscing about ‘man, those were good times,’ just to be down there and it’s just a big playground in rural Georgia. And I’m broke and sitting in the apartment, so I just wrote that song. But yeah…good times were had by all but me. [smiles]

UCN: Hey, you got a good song out of it, I’d say you got more than they did.
BC: There you go, that’s right! [smiles]

UCN: And then the ballad, ‘Dear You,’ was that a specific situation of from a general feeling?
BC: I was living in Ashland City, me and three other guys. I lived on the top floor of this three-story house and I remember sitting up there looking out the window. It was sort of similar to ‘To Be Saved’ where I was just thinking about life. I grew up around religion and I’m pretty religious, so I sat there looking out the window and the song is really a letter to God. I started writing it that way and then finished it with a writer called Barry Dean, who’s a great writer.

UCN: Do you now mostly co-write?
BC: I write a lot by myself. When I co-write it’s often a song I already started and I’ll bring it in. Like I was talking about earlier, sometimes I have a hard time wrapping my head around someone else’s idea. I co-write a lot, but am constantly writing by myself, always. I can’t stop it.

UCN: But that’s good. [smiles]
BC: I know… [smiles]

UCN: What’s next for you this year?
BC: It will depend on how well ‘Love on Me’ does. I’d like a full-length album out soon but we’ll see how this song does. If we can get it to a certain point then we’ll definitely put something else out.

UCN: I look forward to hearing it. Thank you!
BC: You’re welcome!

To discover more great talent, you can check out other UCN artist interviews. - Urban Country News


Brent Cobb- Self Titled release 9-25-12



One of Nashville’s most promising singer-songwriters would have been content if his music had never been heard beyond the Georgia state line.

Today, Brent Cobb’s songs are sung by stars such as Luke Bryan, David Nail, Kellie Pickler and the Eli Young Band. He writes for one of Music Row’s top publishing houses and has just completed his first Nashville recording as an artist. Brent says he never intended to be known much beyond his hometown, but fate, family and his fellow Georgians conspired to change that plan.

“I was never going to move from Georgia and didn’t care to,” says Brent. “I loved being where I was from. I always liked the idea of being the guy who never left and didn’t pursue music, but who wrote these cool songs that folks loved down there.”

“Down there” is Ellaville, Georgia, a small town an hour east of Columbus in the rural, south-central part of the state. Both of his parents were highly musical. His father and uncles were songwriters.

“It’s a big musical family,” he reports. “My dad’s always been in a band, and still is in a band. My uncles played, too. Everybody plays. I was always around music.

“Mainly, I was into songs. Growing up, I thought the cover songs that my dad and my uncles were doing were their songs, like ‘Tangerine’ and ‘Rocky Raccoon’ and ‘I Like Beer.’ I’d listen to them play those and thought they wrote them. I didn’t know they were on records by other people.”

Brent can distinctly remember watching his father and an uncle compose together when he was five or six years old. Less than a year later, the boy came up with his own original ditty about collecting rocks. He made his stage debut with his father’s band at age seven.

“We were at the American Legion Hall in Richland, Georgia. My favorite song was ‘Don’t Take the Girl’ by Tim McGraw. The band had learned it, and my Dad got me on stage. There’s a line in the song that goes, ‘Johnny hit his knees, and there he prayed.’ So when I sang it, I hit my knees, and the crowd just went wild. That was my peak as a showman.”

Around this same time, papa Patrick Cobb’s band opened for country star Doug Stone, a fellow Georgian. Stone was so impressed that he brought Patrick Cobb to Nashville and arranged meetings with booking agents, song publishers and record companies in 1992. Rather than seizing the opportunity, Brent’s father chose to return home.

“He wound up not doing it, because I was seven and my sister was three, and he didn’t want to not be around. So I think, in my mind, I was always a little scared of doing it, because I felt like you had to just give up your whole life,” to make music your profession.

So Brent Cobb followed in his father’s footsteps. He intended to become an appliance repairman like his dad and be happy as a weekend music maker. He picked up the guitar at age 12 and began writing songs regularly at age 13.

“I loved the life that I had. When I was 18, I was playing in a band called Mile Marker 5, and we were doing good in Georgia.

“What happened is that I had a great aunt who passed away, and I was a pallbearer at her funeral. At the funeral, I met a distant cousin of mine, who was a record producer in L.A. I had a little, six-song acoustic demo tape that my folks wanted me to give him at this funeral. I didn’t want to, but my grandma gave it to him anyway.”

Cousin Dave Cobb produces Shooter Jennings, The Secret Sisters, Jamey Johnson and other artists. Two days after hearing Brent’s song demos, he invited him to come to Los Angeles to make a record. Brent Cobb commuted back and forth at first, then moved to L.A. to complete his 2006 CD No Place Left to Leave.

“While I was in L.A., I got held up. Some guy was trying to carjack me. Then I almost got shot in this drive-by shooting. Those two incidents made me start to think about maybe checking Nashville out.”

Mile Marker 5 had opened shows for Georgia native Luke Bryan. Luke heard Brent’s album and took an interest in him. He invited Brent to come to Nashville, but Brent initially resisted the offer.

“I was just so ignorant of the way things worked. I felt like people in Nashville would steal your songs. So I was back in Georgia. When Luke’s video of ‘All My Friends Say’ came on GAC, it was early morning. I was going to work with my dad, and he said, ‘Man, you ought to give him a call. He has taken a lot of interest in you.’ The very next morning, Luke called and left me a voice mail. He hadn’t forgotten me.”

Luke brought his fellow Georgian to Music City, put him up at his house and took him on a whirlwind tour of booking agencies, publishing companies and record labels. It was practically a replay of what Doug Stone had done for Brent’s father. This time the result was different. Brent Cobb moved to Nashville in 2008.

During his first year in Music City, Brent worked at Walgreen’s developing photos. It turned out that the time he’d spent in L.A. had not been in vain. In 2009, Da