Kane Brown’s latest single, “I Can Feel It,” has drawn immediate comparisons to Phil Collins’ iconic “In The Air Tonight,” and while the sonic similarities are undeniable, the connection might be more telling than flattering. Brown, who has navigated a fascinating space in contemporary country music by blending traditional and modern sounds, seems to be at a stylistic crossroads. His attempts at fusion have yielded mixed results, from the enjoyable “Like I Love Country Music” to the less compelling “Bury Me In Georgia.” “I Can Feel It,” presumably the lead single from his upcoming project, represents another foray into genre-bending, this time dipping into 80s rock influences. However, the result is a track that, despite its energy and steel guitar presence, carries an unsettling vibe and a disconcerting lack of synergy, ultimately leaving a somewhat sour impression.
The song’s introduction immediately nods to Collins with a recreation of the famous drum fill. From there, the production unfolds into Brown’s familiar sonic landscape: acoustic guitar and drum machine lay the groundwork, while banjo, fiddle, steel guitar, and eventually electric guitars and drums layer in. However, in this particular mix, the balance feels more conventional, bordering on generic compared to some of Brown’s more adventurous tracks. The acoustic guitar dominates the initial verse, gradually giving way to electric guitars and heavier percussion as the song progresses. Instruments like the fiddle and steel guitar are relegated to supporting roles, lacking significant moments to shine – though the fiddle does briefly lead the song’s opening. More concerningly, the electric guitar power chords in the chorus tend to create a muddled effect, verging on an indistinct wall of sound. While the chord progression differs from “In The Air Tonight” and the tempo is considerably faster, the overall atmosphere retains a similar undercurrent of negativity. The frequent use of minor chords and prominent percussion contributes to an ominous, even slightly threatening, mood. This weighty atmosphere feels disproportionate to the lyrical content, creating a sense of overwrought drama more typical of overtly sensual tracks, yet this song barely hints at romantic intimacy. While the arrangement includes interesting elements, their integration feels ineffective, ultimately detracting from the song’s potential.
Vocally, “I Can Feel It” presents a mixed bag for Brown. Past critiques have noted a tendency to push Brown into his higher register, often obscuring the distinctiveness of his lower range. Interestingly, this track allows him to explore his lower register more extensively. However, this choice ironically works against him in this instance. Brown is no stranger to the “Metro-Bro” style, but the deeper vocal delivery, coupled with robotic backing vocals, amplifies an unsettling creepiness in the narrator’s persona, making his romantic intentions seem less than genuine. The songwriting itself exacerbates this issue. While Brown maintains his rhythmic flow through the song’s faster sections, his delivery throughout much of the track sounds strangely detached and measured. Despite the production’s attempt to evoke a dangerously passionate vibe reminiscent of tracks like Aaron Watson’s “Run Wild Horses,” Brown’s vocal performance lacks sensuality and intensity until the song’s final moments. While Brown remains a capable vocalist, his performance here feels underwhelming and misjudged in relation to the song’s overall tone.
The lyrical content is where “I Can Feel It” truly falters. The song revisits themes prevalent in the Metro-Bro era, echoing a tired trope common in both that style and the Boyfriend era: a narrator encounters someone in a bar, shares a dance, and immediately proclaims a profound connection, anticipating “bigger and better things” because “I can feel it in the air”—a direct nod to Collins, but also a weak and uninspired hook. What these “bigger and better things” entail remains vague, but the narrator’s fixation on physical attributes suggests a fleeting encounter rather than a meaningful relationship. The lyrics are peppered with awkward and clunky phrases – “slid over like a steel guitar” is particularly jarring and nonsensical, especially to anyone familiar with the smooth sound of a pedal steel. Similarly, the line “smooth as Tennessee” is baffling; Tennessee, with the Smoky Mountains, hardly embodies smoothness. However, the most significant issue is the pushy, presumptuous attitude of the narrator. This approach, already passé several years ago, renders the narrator less appealing and more off-puttingly slick. Combined with the ominous production, the lyrics contribute to a disconcertingly toxic atmosphere.
“I Can Feel It” emerges as an unwelcome throwback, unfortunately embracing the least desirable aspects of the Metro-Bro era to transform a potential pickup anthem into a misfire. The songwriting is uninspired and bordering on sleazy, the brooding production encourages a negative interpretation of the protagonist, and Kane Brown’s performance does little to salvage the track. While Brown has enjoyed considerable chart success in recent years, he hasn’t yet reached the superstar status of artists like Morgan Wallen or Luke Combs. If Brown aspires to reach that level, he needs to select material that elevates his artistry, not detracts from it. On this evidence, “I Can Feel It” suggests a step in the wrong direction.
Rating: 4/10. Nope.
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