About Little Big Town
It takes a perfect storm to make a great album – an audacious mix of tension and release, passion and calm, love and violence.
Hallmarks associated with all true forces of nature, these mighty attributes were exactly what Little Big Town had in their corner as they blew into the studio in late February for the whirlwind recording session that produced their strongest work yet, their aptly titled fifth album, Tornado.
LBT didn’t set out to break any land speed records in the studio. However, considering that the majority of Tornado took just seven days to record, that’s exactly what the recording process felt like to Karen Fairchild, Kimberly Schlapman, Phillip Sweet and Jimi Westbrook, a group famous for their trademark four-part harmonies.
The elements that would produce Tornado started brewing earlier this year. After doing a bit of soul-searching, the band realized they were ready for a change. Despite a solid 13-year career during which they’ve sold 1.5 million records, racked up multiple Grammy, CMA and ACM nominations, and crafted Top 10 country hits (“Boondocks” and “Bring It On Home” from their platinum 2005 album The Road to Here, and “Little White Church” from their acclaimed 2010 release, The Reason Why), LBT was feeling a little too secure in their time-tested way of doing things in the studio.
They decided to shake things up a little.
The change started with the draft of producer Jay Joyce (Eric Church, Patty Griffin), who stood in for their longtime collaborator Wayne Kirkpatrick at the boards. “We adore Wayne: he really helped us in the early days when we were trying to define our sound,” Karen says, fondly. “And he’s part of the reason why we’re a band. We love our past records, and we wouldn’t change anything about how we made them, but we wanted to break up our routine for this one and get a little bit out of our comfort zone.”
LBT was already familiar with Joyce’s work, both as a producer and a performer: a noted guitarist, he had played with the band on The Reason Why. However, there’s a big difference between dropping by the studio for a few hours to gig on one track and masterminding an entire album.
If there were any lingering doubts that Joyce was a good fit for the project, they all fell away when the producer showed up to his first meeting with the band brandishing a plan for a recording experience that was unlike anything else they had ever done before.
“Jay was the only guy we talked to who said, ‘I know what I would do with you guys. I’ve loved your other records, but I have some things I’d love to try,’” Karen recalls. “When he talked to us about what he wanted to do, there was no hesitation,” Jimi adds. “He was all there; in Jay’s mind, he had already started working.” The band quickly followed suit, launching into what would become a wonderful cyclone of a recording session.