In 2004, Marc Broussard, then a precocious 22-year-old singer/songwriter, released his major-label debut; he called it Carencro, after the
Louisiana town where he was born and raised, and its thematic centerpiece was a hickory-smoked slab of Bayou soul called “Home.” That album
and the 3 that followed revealed Broussard as an old-school Southern soul singer blessed with a rarefied gift and innate stylistic and emotional
authenticity, causing the L.A. Times to rave, “The guy can really sing, with power, nuance and class. Anybody got a phone book? I’d listen to him
hum a few pages.” Those records also evidenced Broussard’s maturation into a songwriter of uncommon eloquence, fashioning the indigenous
idioms of his native region into compelling personal testimony.
Now, a decade after his critical breakthrough, Broussard has come full circle with A LIFE WORTH LIVING his 6th studio album, a celebration of
what home means to him, starting with his wife and kids, the street he’s lived on his entire life, surrounded by loved ones, and all the minutiae of
everyday life that he has come to treasure.
“Home deinitely has a lot to do with this album,” he confirms. “But family has a lot to do with it as well, and those two go hand in hand. The
infrastructure of family is really important, especially when you have four kids. Luckily I’ve got family that I’ve been able to lean on throughout all
these years. Then, on top of it all, this place is just special. There’s a different way of living, a different way of communicating and a different way
of celebrating life here that is infectious. And once you realize it, you never want to leave.”
Broussard signals his intentions with the cover portrait, which pictures him with his wife and kids sitting on the steps of a neighbor’s house,
instruments in hand, persuasively conveying the notion that the family that plays together stays together. That touching photograph, which recalls
Norman Rockwell’s heartwarming images of home and hearth, leads the listener into a song cycle that brings those traditional American values to
vivid life, a linked series of ballads and deep-gut soul-rockers with revealing titles like “Edge of Heaven,” “Another Day,” “Weight of the World,”
“Perfect to Me” and “Shine.” These songs, some intimate and others churning with intensity, like the kickass blues-rockers “Dyin’ Man” and “Man
Ain’t Supposed to Cry,” chart the full range of concerns and emotions of a husband, father and provider as he experiences the joys and sorrows of
“It was a rare occurrence to have a song that just kind of wrote itself,” Broussard says of “A Life Worth Living.” “It felt like I was the conduit more
than the writer, that I received this thing. It happened right after the passing of my grandmother. She was sick, and she decided not to ight the
cancer, which is indicative of her style—she lived by her own rules. My mother’s mother was the matriarch of this wonderful, massive family.
Hurricane Isaac was bearing down on the Gulf Coast of Louisiana at the same time that she was passing away, and because it was such a sudden
thing—we found out she had cancer and three weeks later she was gone—we were all left speechless. I felt like someone needed to say something
and luckily the whole thing laid itself out in front of me.
For a long, long time, I’ve avoided writing about the darker side of relationships and love for fear of offending my wife’s sensibilities. But after I
heard that song, I said to myself, ‘I can’t do that anymore. I’m not gonna allow myself to be stifled; I need to be able to write whatever I’m feeling.”
So I had a talk with my wife and let her know that none of this stuff was really that personal, and all she needed to do was focus on how we are to
each other. Then I proceeded to open myself up. So ‘Honesty’ is really the quintessence of this new spirit in my writing. A LIFE WORTH LIVING
marks Broussard’s return to Vanguard, which released 2007’s SOS: Save Our Soul, his scintillating album of covers of Southern soul classics.
“Luckily, I’m with a company that recognizes opportunities and is nimble and agile enough to make moves on it when they present themselves,”
says Broussard. “All of the things that I needed to happen for me to feel confident about this project have come together. It’s put me in a really
good head space. I’m really looking forward to the future, and there’s no end in sight, that’s the thing
Friday June 9th - 6:3O pm - National Grid Main Stage