THE FAMILY – AN ARTIST SPOTLIGHT AND IN-DEPTH INTERVIEW
Photo Credit: Claire Nichols
By Ralph Beauchamp
The Family is a musical supergroup comprised of real family members. The band will be releasing their debut album Delusions of Grandeur on July 31 via Big Black Cow Records. Each musician of this ensemble is major solo talent in their own right.
James Leblanc, the patriarch of The Family, is established singer-songwriter who has written hit songs for the likes of Kenny Chesney and Tim McGraw. Dylan Leblanc is a renown talent whose music resonates deeply with his listeners. Angela Hacker is James’ wife and an accomplished artist who won the 2007 edition of Nashville Star. Bay Simpson is Angela’s son and is an exceptional solo artist and a member of the Outlaw Apostles.
Embedded deeply in the workings of the Muscle Shoal music scene, The Family‘s music goes beyond each individual’s flair. The Family creates a sound that breaks boundaries. Sonically, the band blends strong songwriting with inventive guitar riffs, driving rhythms, dynamic vocals and soaring harmonies. Atmospheric passages give way to singular arrangements and prodigious choruses. All the while, every track on Delusions of Grandeur features amazing orchestration and dynamic hooks.
Recorded at the legendary Fame Studios in Muscle Shoals under the co-production of Brad Crisler, Delusions of Grandeur stands out due to its remarkable craftmanship and genuine aural weight. Each song delivers emotive sensibilities and a tension between confidence and vulnerability. The themes of self reflection and emotional gravity make the record feel immediate and universal in scope. Delusions of Grandeur showcases each amazing member’s musical strength and a willingness to go beyond their individual comfort zones. This is a record full of collaborative beauty and unrestricted creativity.
The Family was kind enough to sit with AMP for this in-depth interview.
AMP: You each have very successful solo careers. What finally convinced you that now was the right time to release Delusions of Grandeur as a unit?
DYLAN: When the pandemic hit and all our lives halted like every other artist on the planet, we had the opportunity to start this project. Rodney Hall of Fame Studios threw out the idea and offered his space to record in. We then enlisted Brad Crisler to help co-produce. We started to write songs that would be cool for all of us to work on. That was the interesting part of the whole thing, fitting all our different ideas into a single stream.
JAMES: In the past, we all have recorded material with one other but surprisingly the idea that we all get into the studio together never occurred to us before Rodney suggested it. Looking back, that seemed quite strange. Rodney gave us the suggestion and gave us carte blanche of his facility.
What was nice is the fact that we were able to take our time and work aesthetically as a group. When Brad Crisler, who happens to be an amazing producer and engineer, came on board, he began shaping it in a “retro futuristic” style. We loved that Brad term, “Retro Futuristic” because it fit the songs perfectly. From there we all jumped on the bandwagon.
Enter our son-in-law, Jesse Walker, who is a serious vinyl enthusiast. He always wanted to start a record label. So, we all decided that would be the ideal route for Delusions of Grandeur. Therefore, the album will be released on his Big Black Cow Records imprint. Everyone that has heard all the tracks, loves them. We are excited to bring this full length to the world.
AMP: Was there one song that became the emotional centerpiece of the album?
ANGELA: We all may have different ideas of what that is but, for me, “Hammer” is the one. It was one of our earlier songs. The tune was written by James and myself and originally it had a more acoustic sound. When Brad added his “Brad Treatment”, it took on a life of its own. That’s when it became a focal point for the record. When everyone heard the finished composition, they all wanted a similar vibe for the remainder of the disc. Brad’s interpretation of “Hammer” truly set the tone. That’s when Delusions of Grandeur began to really take shape.
AMP: There’s a warmth and organic feel to the record that recalls classic Muscle Shoals recordings without sounding nostalgic for nostalgia’s sake. How intentional was that balance?
BAY: That’s a good question! It’s partially magic. It’s hard answering this question about my own music. Since we are individual writers, we usually focus on our own particular styles but Brad’s production constructed something really fresh. Like I said, it felt magical.
JAMES: Dylan was actually raised in Muscle Shoals but we all have lived here so long that it’s just a way of life. It’s grooves are in our souls. Just cutting the tracks at Fame gives it that special vintage feel. Add the twists that Brad brings to his production and you have something totally unique. Bay hit it right on the head. It was pure magic!
AMP: How do songwriting duties work within the band? Does one person usually bring in a finished song or do they evolve together?
DYLAN: It’s different each time. Going back to “Hammer”, Angela and dad wrote it together and brought it to the table. What’s really cool was that the track was such a given. We all knew it was going to be special. You could feel the depth. The dynamic between the two of them is incredible. They have been together for over 20 years and there is such a natural flow when they write as a team.
Then, there were times when we were all together and writing as a unit. But the most important aspect about this band is the fact that, first and foremost, we are all singular songwriters. That comes before anything else. We all love the process of writing songs. When someone brings an idea to a session, there is always that thought in your head of “why didn’t I come up with that groove.” That’s such an exciting sensation. Dad is such a fantastic lyricist. If there is a certain theme you want to write about, he’s the man you want to collaborate with.
Once again, we are all in when it comes to our writing sessions. A lot of times, someone throws out a title which starts the ball rolling. It’s like the initial blueprint. For the sophomore record we are currently recording, we are collaborating more as a group. That’s when the fun begins. I’m honored when I’m able to contribute to someone’s musical vision. That’s how we make this work.
AMP: Families know how to push each other’s buttons. How do you keep the creative tension productive?
ANGELA: (Everybody Laughing}. Well, for me personally, I had to do a lot of emotional growth in that area. One of the reasons James and I get along so well as a couple is the fact that we have learned to leave each other alone when necessary. It’s also the realization that we are all individual artists.
There are always going to be days when you will be a little more fragile. I’ve noticed that I’m more aware of that now. Therefore, when I see that aspect in one of the other members of the group, I can give them more space. Family working with family can be trying.
There are moments that we can laugh about it now but when it was happening, it wasn’t so funny. I’m so glad that James and Dylan can get upset but get over it quickly. On the other end, Bay and I hold onto it a little bit longer. Everyone has a different way to deal with trigger points. Hopefully, the love we have for each other as people and family members is the bond that moves us forward. I hope we never go sideways.
DYLAN: There’s an honesty that is present when you are dealing with family. What I always keep in my head when we have our moments is the thought that what is being said is coming from a constructive place. These people are pushing me to be the best I can be. It’s pushing each member to excel.
If Bay is playing a guitar solo and I feel he has more to give, I suggest another stab at it. With family, I feel comfortable enough to do that. If he tells me to “fuck off”, I say okay. That honesty is only valuable if the respect is still there. We always have that respect for each other, artistically and personally.
AMP: Which track took the longest to get right and which track came together almost effortlessly?
BAY: I have to deep dive in my memory on this one. Remember, we recorded this album six years ago. I believe “The History of Things to Come” took awhile. It was kind of tough getting that one together. “Everybody Loves You Now” and “I’ll Take It” seemed to record the easiest. “I’ll Take It” was pretty flushed out because I’ve been playing it for a long time. We knew where the parts fit and then Brad added some spice. It was a very smooth flow.
AMP: Listeners may hear echoes of classic Southern rock, folk, soul and even Fleetwood Mac-style harmonies. Which influences were conscious and which simply emerged naturally?
DYLAN: I’m speaking for myself now. I feel there is a memorable craftmanship in the 70’s era recordings that I don’t hear in many modern albums. I’m always searching for that sound. It’s a real thing. That era, especially the Laurel Canyon artists, delivered such breathtaking music. Randy Newman, Jackson Browne and the rest of those amazing songwriters left such a legacy. Those records are so supreme because everyone was pushing each other to be better. That’s my standard. I need that vibe. Those musical influences are so ingrained in my soul that subconsciously my music reflects them.
ANGELA: We were definitely going for a specific sound. You referenced Fleetwood Mac and they were a group we tried to emulate. The Rumours album was one of our models. Once we got on that path, I believed it inspired all of us, especially me.
AMP: If Delusions of Grandeur was a Southern meal, what would it be?
JAMES: {More laughing}. Country-fried steak with gravy, black-eyed peas, Jalapeno corn bread and sweet tea.
AMP: Dylan, fans know your solo work for its cinematic storytelling. What did singing and writing in a band setting allow you to explore that your solo records don’t?
DYLAN: Whenever you are in a collaboration, it fosters an open-mindedness. When I’m working on an album, I know exactly where I want the songs to go, I totally hear the production but when I am in a collab that all goes away. It’s a blank slate and a complete exercise in being open to suggestions from other creative voices. Losing that complete control is big for me because I’m kind of a control freak.
It also depend on who I am working with. On Coyote, I was working with the best of the best and I didn’t have to say much. The musicians on that record were on a different level. I didn’t need to add much to the production value. With this The Family album, there was a similar feel. A lot of the tracks were already fleshed out. It felt like everything on Delusions of Grandeur was necessary.
AMP: James, outside of your solo career, you’ve spent years writing songs for other artists. How different is it when the songs stay in the family?
JAMES: I like it a whole lot more. If this is all I do for the rest of my career, I would be fine. I love it because how well I know these people. Their voices are always in my head. I have some great relationships with some really talented people but there is nothing like family. It was so satisfying that they were all down for this. It is a lot more exciting to wonder how Angela is going to sound on a track than Kenny Chesney. Nothing wrong with Kenny but it’s something special to hear Dylan singing a song we all wrote together. The Family is family. This project transcends business. This is personal satisfaction.
AMP: Angela, your voice has always carried both power and vulnerability. Were there songs on this album that felt especially personal?
ANGELA: I love, love, love the lyric of “Pick Your Poison”. The way Dylan spins it is so superb. I like its whole vibe and what it is saying. In addition, I enjoyed singing the harmony. I truly like to write but I don’t compose like the rest of the family does or as often. I’ve always been more of a live performer. So, my whole focus on Grandeur and our upcoming release is to get better in the studio. I just haven’t done it enough. “The History of Things to Come” is a prime example. James left the studio on that one and I sang it better after he left.
Bay, James and Dylan are very good in knowing how they want things to sound. Sometimes I wish I had that power. Since I have been more on other people’s albums and haven’t cut my own in a while, I was at a slight disadvantage. So, working on this project felt like starting over and it truly felt like I grew a lot.
In addition, the day we were writing “The Dealer” I threw out a line and James really liked it. It’s strange that he cut that track because when we write together, it’s usually my vocal. For that reason, “The Dealer” has a special place in my heart. In fact, every song has a extraordinary memory for me. That’s why this album stand out.
AMP: Bay, you bring a younger perspective to the group. How do you see yourself in the scheme of things?
BAY: I just see myself as another unique extension of the band. I hope that my youthfulness in my artistry helps bring something that connects the retro sounds of this band to the youth of today. Maybe that ends up being my ultimate purpose in The Family.
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