Hometown: Raleigh, N.C.
One gin-soaked night, he broke into, then trashed, his own band’s rehearsal space. Another evening, courtesy of vodka and a hard-hitting breakup with his girlfriend, “I just lost it in my buddy’s living room, and woke up in a Raleigh jail. In handcuffs,” he says. “My parents bailed me out that night, and I was really strapped for cash, so I moved back home.”
A sober McLamb severed all old musical ties and started punching the clock at a bustling hotel restaurant. “It’s funny what some good, hard work can do,” he marvels. While waiting tables, he began mapping out rhythms in his head and, at home, built a small arsenal of musical equipment. Utilizing a portable eight-track, his parents’ piano, a scratchy condenser mic and various other instruments, he started recording in his muffled bedroom, a tinny storage shed, even his folks’ dining room—“with them yelling at me in the middle of the day,” he says, “their 26-year-old son banging away on a drum set”.
The Love Language is now a 7-piece touring unit, but its decidedly-DIY one-man-band debut runs a playful gamut from old-school country (“Stars”) to sunshiny pop (“Sparxxx”) and big-band swing (“Lalita”). “And now it’s being hailed as this lo-fi album,” McLamb grouses. “But that was not my intention—I thought I was the most awesome producer around.”
In the album credits, the grateful son thanks “mom & dad,” first and foremost. And the grinning young girl in the cover shot is his late aunt, he reveals. “She died young, so I never had a chance to meet her. But they always said I favored her, so it was another way to give a little tip of the hat to my family.”

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