Kane Brown

Kane Brown’s hands have the words “Home” and “Sick” tattooed across the knuckles, a letter for each finger. From the serious young man from Fort Oglethorpe, Georgia, much thought went into the ink, a reflection of traditional values shooting through his progressive country.

Debuting at No. 1 on the Billboard 200, Brown’s new album Experiment released November 9. This follow-up to his Platinum-certified 12-week No. 1 self-titled debut album pushes his kind of country forward to smooth ballads and brisk midtempos that capture the soul of commitment, the sweep of desire and the stumble of doubt. But rather than just follow the pack, he reaches back to embrace elements of the traditional that are missing in so much of today’s modern pop-centric country. “I want that in music,” he acknowledges. “It’s fiddle-driven, and also slide guitar and steel guitar. Just to kind of give it those old school instruments, I feel, is the closest way to bring the old school country music into the new school country music (happening) right now.

Kane Brown was a certified phenomenon long before the majors came calling. Through online videos, downloads, streams and virulent word of mouth, the young man working at Lowe’s and Target was a certifiable sensation through fans posting and “a crazy dream” turning into a musical mandate. By February 2016, when he signed with Sony Music Nashville and the now-Platinum-certified “I Used To Love You Sober” was re-released as a single on RCA Nashville/Zone 4, Brown had already experienced exceptional commercial success with his independent debut EP Closer. Due to the strength of his viral fanbase, Closer topped download charts and peaked at No. 7 on the Billboard Top Country Albums chart in October 2015. Five months later, his major-label followup EP Chapter 1 debuted at No. 3 on the Billboard Top Country Albums chart (March 2016).

“I didn’t think (music) was going to be like a job. I thought it was just writing songs in the meantime for fun. When I put (‘Sober’) on iTunes and Facebook, and it ended up getting like 32 million views, I was shocked. Suddenly, ‘Sober’ was competing with ‘Die A Happy Man’ when it was at its peak.”

Modest and soft-spoken, Brown may have first tasted commercial success over a year prior, but, by the time he released his RCA Nashville/Zone 4 debut album in December 2016, Brown was well on his way to making history. With the nearing-quadruple-Platinum multi-week No. 1 smash “What Ifs,” featuring former chorusmate Lauren Alaina, he became the first (and remains the only) artist to top all five Billboard country charts concurrently: Top Country Albums, Hot Country Songs (“What Ifs”), Country Airplay, Country Streaming Songs (“What Ifs”) and Country Digital Sales (the nearing-triple-Platinum multi-week No. 1 “Heaven”). At the close of 2018, Kane Brown’s Experiment was named one of the 10 best albums of the year by the New York Times and “Heaven” was singled as Billboard’s most-played country song of the year.

For a kid growing up, hanging out in the Walmart parking lot of a string of small towns who was raised primarily by his Mom, Aunt and Grandmothers, Brown is intent on making his music connect with anyone who grew up like he did. Beyond his deep respect for women, he has a strong sense of what makes songs work. Credit multi-award winning producer/guitarist Dann Huff, the man behind Keith Urban, Thomas Rhett, Brantley Gilbert and Rascal Flatts, with helping Brown find the aggressive musical balance that allows his records to connect with men as well as women. Experiment, beyond the music, sees Brown pushing what was being said. Always a strong proponent of relationship songs, he also had a stronger sense of what and how he wanted to communicate. “I kind of realized that I wanted to say more, and kind of going back to the live show, what kind of songs I wanted out there.”

Finding the common ground, coming together and understanding other people’s fears is pivotal to the next-generation star. Whether it’s the grown-up relationship truth inside the silky “Work” or the piano balladry of “Live Forever,” it’s the connection that transforms the music – and the man singing.

“I believe men and women are equal. I respect people,” he explains of his very grown-up approach to love songs and being young. “I’ve got people who like all kinds of music, and say, ‘I don’t like country music, but I like you.’ There are the country radio fans, who hear the songs, and the Kane Brown fans who know songs radio doesn’t touch, and it all good.

“A song like ‘Lose It,’ unless you’re a diehard fan, you’re not gonna pick it up and play it; but if it comes on, it’s so rocking live, just in-your-face-live, and that works.”

Pausing he smiles reflectively. He knows the unsaid, and while it’s not been brought up, he realizes, it might as well be asked. As a breakout Cherokee/African American, his place in today’s country speaks to the shifts in the U.S. “I’d just say, ‘I’m just a guy who wants to make people realize you shouldn’t judge a book by its cover.’ I’m just somebody who’s wanting, no matter what race you are, if you like country music, if you want to be in country music, then you can be. Just look at me, and come on.”