Lucy Fitzgerald 
Q: “Lovin’ Man” really brings the party vibe. Was there a particular moment or feeling that sparked the idea for the song?
A: I knew going in that I wanted something to connect with one thing our fans love most about me and the band—groovy, energetic, fun. I wanted a track that concentrated all the aesthetics of our catalogue but also left breadcrumbs for the future. I was thinking about our live shows in New Orleans, the Northshore, Central Arkansas, San Antonio—all those places and faces that shaped us. That’s really what pulled the song together.
Q: The track feels playful and direct. Did it come together quickly in the studio, or did it go through a few different versions
A: The idea came quickly. Production didn’t drag, but it had obstacles. It’s a dense track, and the percussion and rhythm section arrangements were tricky. I tend to write very fluid, moving melodies, especially for vocals and horns, but the funkiness of this track forced me to rein it in. In a lot of ways, those restrictions made it better.
Q: That horn section is doing serious work on this one. How involved are y’all in shaping the arrangement, and how do you balance tightness with that live, loose energy?
A: The horn parts were definitely a learning curve. Live, our horn section leans toward a New Orleans/Caribbean/Southern looseness. But in the studio I wanted that ‘80s sound you hear in Quincy Jones or Phil Collins productions, where live horns and synths/samples combine into something thick and exciting. A big model for me was Brasstracks—they make their recordings tight while letting the live set breathe. So I built this track tighter, knowing my guys could loosen it live. The soli, for example, hits hard on record, and on stage it grooves even more.
Q: Your vocals on “Lovin’ Man” have this effortless confidence. Were you channeling anyone in particular when you laid it down?
A: At heart, I’m a crooner. My baritone fits best in ballads, but it’s not the easiest for busy, upbeat tracks. My workaround is rhythm—leaning less on big notes and more on rhythmic phrasing and harmonic rubs to keep it playful. Channeling is definitely part of my process: sometimes I’m thinking Jeffrey Osbourne, Mel Tormé, or Otis Redding. For this track, though, I drew from those ‘90s R&B band vocalists—how they hit vowels, let their character shine. Prof-T from Lo-Key? and Stokley from Mint Condition were big touchstones here.
Q: This one skips the ballads and dives straight into the groove. Was that a conscious shift from your previous work?
A: In some ways, yes. We’ve got slower songs coming, but I knew we needed something people could dance to. Our live shows thrive on that energy. Our biggest track so far is Turn It On (Electricity Bill), and for this season’s first single, we wanted hips moving.
Q: The song sounds like it was made for sweaty summer nights. Is that Southern Louisiana backdrop always in your mind when you’re writing?
A: I don’t know how to write outside the way Louisiana shapes me. When we tour, people talk about Louisiana like it’s this mysterious land, and they expect a band from there to feel magical. That expectation sticks with you. But really, it’s the people who make it profound. A fun song like this—only in the Boot, baby.
Q: There’s something timeless about “Lovin’ Man.” How do you walk the line between vintage soul and a sound that still feels fresh?
A: Thanks for saying that. I want my music to feel fresh and relevant for people right now, but timelessness—that’s the dream. For me, the balance is pairing fresh, sensible production with music that’s unique and emotionally resonant.
Q: The music video is out. What was the vibe on set? Any behind-the-scenes stories you can share?
A: Hard would be an understatement. The main team was me, Caleb (our bassist and co-producer), and William Silizear (our former keyboardist turned videographer). We decided all the verses would be single, uninterrupted shots with real props and movement. That meant if anyone messed up—or if the camera slipped—the whole take was wasted. And when you’re renting the only cyclorama room in New Orleans by the hour, that’s stressful. Biggest headache: the confetti shots during the horn soli. One of our guys kept firing the cannon off at the wrong time, and every misfire meant stopping to clean the whole floor before reshooting. Lesson learned: never give Ethan a confetti cannon.
Q: You’ve been hitting the road with this one. What’s it been like playing “Lovin’ Man” live?
A: Amazing. When the crowd joins in on the call-and-response chants, it’s a blast. It still surprises me when people sing my lyrics back at me. Honestly, sometimes I’m so caught up in the moment I forget my own lyrics—so the help is nice!
Q: Looking ahead, what’s next for Tyler Kinchen & The Right Pieces in 2025?
A: It’s tough out there, and we’re no exception. But we’re going to keep doing what we love. We’ve got a new single, So Much More, dropping this month, and we’ll be on the road through the end of the year. We’re blessed to have each other and the open road—and we’ve got one more release planned before year’s end.
Listening to songs so you don’t have to! Just kidding :D, you totally should. Music blogger by day, nurse by night
