Kane brown las vegas postponed
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It's the most honest, multi-faceted work from Brown yet, building on everything he's done before and leaving the door open for just about anything in the future. "This is me, this is Kane Brown," he concludes. So he made his own." Nevertheless, Brown still felt hemmed in creatively. While the album has a few moments nodding to whiskey and good times (or, naturally, good times turned sour), Brown was determined to create a more complex portrait of young adulthood tumbling towards the future and new horizons.
"Rescue" sits alongside "Haunted" as the album's vulnerable centerpiece, the latter finding Brown joining forces with recent breakout artist Jelly Roll. The only real prompt for The High Road was trying to depart from the expected tropes of country radio. "This is the artist I am."
Louis Tomlinson, Kane Brown and more to headline Las Vegas Grand Prix grid entertainment
“Las Vegas has always been a global stage for entertainment, and this year’s grid line-up reflects that energy,” said Emily Prazer, President and CEO of Las Vegas Grand Prix, Inc.
“From Kane Brown’s chart-topping country numbers and Louis Tomlinson’s pop hits to Steve Aoki’s electrifying sets and Kaskade’s legendary beats, fans will witness a soundtrack as exhilarating as the race itself.”
On top of the entertainment on the grid and Paddock Club, race week will feature a powerhouse musical line-up across multiple stages.
"I know the road ahead/ Will make me who I am," he resolves.
"I Am" immediately draws a line in the sand: The High Road is Kane Brown's most personal and unapologetic album, eighteen tracks representing everything he's about and every new musical twist he wants to explore. "I'm a little bit of bass, 808s, a little bit of clap your hands/ I'm a little bit of six strings on a backbeat, with a fiddle in the band." he sings, "I can't help to be R&B with a touch of twang/ Air guitars and dashboard drumming." From there The High Road takes the listener many places: the country balladry of "Backseat Driver" and its reflection on parenthood, "Miles On It" fusing pop and country with classic car-and-love wordplay, or modern Southern rockers like "Start A Fire" and "I Can Feel It."
"I'm a walking jukebox," Brown says.
As a Black artist without strict loyalty to the genre's old strictures, he arrived as a maverick from the start -- once prompting The New York Times to proclaim he "didn't fit the country music mold. Conceived over two years and amidst constant touring that found Brown traversing America, Canada, Europe, and Australia, the title nods to how the road itself has molded Brown and his restless experimentation, and also doubles down on refusing to compromise with his new music.
In the album's final moments, Brown takes it back to family and time's passage, mulling over generational experience and paying tribute to not just the road that made him, but the people too. "I Am" and "Fiddle In The Band" set the stage emotionally and stylistically, and the rest of the album is a wide-ranging trek true to its title, eventually leading back home.
"Everybody's got naysayers, and we just keep our head high," he says.
Just as "I Am" provides a thematic mission statement for The High Road, the rousing second track "Fiddle In The Band" is something of an aesthetic overture: Over a throbbing backbeat and, fittingly, a lively fiddle line, Brown sings of his omnivorous musicality.
He's received multiple nods including the coveted Entertainer of the Year award at the ACMs as well as multiple wins and nominations at the Billboard Music Awards, American Music Awards, CMT Music Awards, and People's Country Choice Awards.
Thanks to his ongoing work with The Boys & Girls Club, he also earned that organization's Champion Of The Youth Award and the Country Radio Seminar (CRS) Humanitarian Award.
But these words belong to The High Road's anthemic opener "I Am," which soon counters fear with the affirmation that Brown, or anyone singing along to those words, is becoming the exact person he's supposed to be. For a moment, the laidback Brown is in a reflective space: A sudden realization that life has moved fast, at thirty one and a father of three, with the same existential wranglings anyone in the same chapter of life might feel.
T-Pain, MGK and Zedd will headline the T-Mobile Zone at Sphere Stage, joined by electrifying performances from SOFI TUKKER, Lauv, Cimafunk, Balu Brigada, Cassian and more. Brad Paisley, an artist Brown grew up listening to and previously collaborated with, duets on the not-quite-sober reflection "Things We Quit." Brown reconnects with Khalid on "Rescue," a twilit track making good on the "R&B with a touch of twang" promise.
"Stay" might be one of the album's most poignant moments, interpolating one of Brown's mother's favorite Sugarland songs.
By the end, you don't need to have traversed the globe to relate to all the different stops on The High Road. Across 18 songs, Brown gets at all the shades of waning youth and those murky not-quite-old years, growing up right alongside the fans who've been with him since the mid-'10s.
Sometimes exiting a session with a country song, sometimes with a pop song, the only guiding principle was that this time, for real, anything goes.