The country star, on his 17 th album since 1994, has a new tendency and strong things to say about the route our digital culture has changed human interaction
Like any large-scale music hotshot, Kenny Chesney is used to beings reaching out to shake his hands from the figurehead rows of his stadium displays. But he hasnt forgotten the status of women in New Jersey last summer who embraced her sides in his, reaped him close, but never looked at him formerly. She was looking at her telephone, he recollects. She was so lost in the interference of it all, she missed the human joining. It was sad.
A risk of success is the cheapening of the theme, and sometimes the messenger. Which is why on Cosmic Hallelujah, his 17 th album, Chesney moves another step closer to changing his persona as one of mainstream countrys most enduring stars to an artist recently are used in both challenging himself and pushing his audience his love are known as the No Shoes Nation even if they are fine with the acces the situation is. Chesney is 48 and while the world must really changed since 1999, where reference is secreted She Thinks My Tractors Sexy, hes changed along with it.
Theres more to my life than escapism, he answers. I affection that part of “peoples lives”, but it is more important now to talk about interesting thing. Its where I am at right now.
Cosmic Hallelujah is the album destined to grow his audience, although with 28 No 1 accounts on the two countries chart, he hasnt exactly underserved them. But Americana devotees would find much to admire here through anthems like Jesus and Elvis, a bittersweet story told with traditional country components and featuring his finest singing in years. And while chants like Bucket and Bar at the Resolve of the World are ensure gravies for his blockbuster live evidences, Hallelujah also forms opening for more thoughtful information that reflect both the nervousnes of the times and the determination to move through it.
The centerpiece is Noise, the albums first single, which explodes through the digital overload of everyday life. The melodics emerged like a spate and, with songwriters Ross Copperman, Shane McAnally and Jon Nite, Chesney crafted a drastic exposition on the possibility we are becoming numb to friendship. Unlike other chants that tackle the same subject, Noise is less rent from the headlines and more from his own personal diary. I felt it was affecting my originality and my personal relationships, he announces of the raid of 24/7 connectivity. I appeared I was texting I love you instead of telling parties I adoration them.
Unplugging now translates to leaving the cellphone off the counter during dinners. But Chesney has the unique attitude of visualizing just how immersed parties have become in removing themselves from the present moment when he ogles out from the stage of a football stadium and receives 50,000 parties staring back at him through their screens.
Its very frustrating, any entertainer will tell you they hate it, he enunciates. Especially for me I want to look at everybody straight-shooting in the eye and shape them feel something and its really hard to do that if theyre not looking at you but theyre looking at their phone. Theyre missing the connection and taking scraps home with them. Its like looking at a bookshelf of volumes but you dont read any of them, you just read a little bit of each.