"You know, with bands like Kiss back out on the road and Aerosmith coming out, we are going to be a band like that, in the sense that it's a big rock band"
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Steve Brown is telegraphing ambition in the most workmanlike language rock culture allows: not “innovative,” not “dangerous,” but “big.” By name-checking Kiss and Aerosmith, he’s not just citing influences; he’s invoking a business model. Those bands are shorthand for longevity, brand architecture, and the ability to turn a live show into an event people plan their calendar around. In the era when legacy acts keep reactivating like reliable franchises, “back out on the road” becomes a kind of proof of life: rock isn’t dead if the old giants can still sell the spectacle.
The quote’s slight clunkiness is the tell. Brown isn’t pitching an aesthetic so much as a scale. “In the sense that it’s a big rock band” reads like someone clarifying to a label, a promoter, or a skeptical journalist that “big” means production, arenas, and a recognizable identity - not just loud guitars. He’s positioning his band as a future legacy act, the kind that can disappear and return without losing cultural permission.
There’s also a defensive edge baked into the optimism. Bringing up Kiss and Aerosmith quietly acknowledges rock’s anxiety about relevance: if the current conversation belongs to pop, hip-hop, and algorithm-friendly microgenres, the counterplay is durability. Brown’s subtext is simple: if the old brands can keep touring, there’s still room for a new one to grow into that lane. The dream isn’t to be the next cool thing; it’s to be the next institution.
The quote’s slight clunkiness is the tell. Brown isn’t pitching an aesthetic so much as a scale. “In the sense that it’s a big rock band” reads like someone clarifying to a label, a promoter, or a skeptical journalist that “big” means production, arenas, and a recognizable identity - not just loud guitars. He’s positioning his band as a future legacy act, the kind that can disappear and return without losing cultural permission.
There’s also a defensive edge baked into the optimism. Bringing up Kiss and Aerosmith quietly acknowledges rock’s anxiety about relevance: if the current conversation belongs to pop, hip-hop, and algorithm-friendly microgenres, the counterplay is durability. Brown’s subtext is simple: if the old brands can keep touring, there’s still room for a new one to grow into that lane. The dream isn’t to be the next cool thing; it’s to be the next institution.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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