![]() He’s appeared in several movies, including the independent “Trailer Park of Terror” and the irreverent “An American Carol.” He authored a book, “A Personal Stand: Observations and Opinions From a Freethinking Roughneck” (Villard Books), in 2007. Early in his career, he began a series of semi-regular appearances on Bill Maher‘s “Politically Incorrect,” and his frank, informed debates with the host helped establish him as an artist who could handle his own beyond the concert stage. “There’s a sweet spot in Trace’s voice,” Beard says, “and what makes him so unique to me, he’s the only bass singer that I know of whose voice cuts like a baritone or tenor.”Īdkins’ adaptability, however, isn’t restricted to his music. He also earned a Grammy Award nomination for his 2009 ballad “All I Ask for Anymore.” 1 in a collaboration with Blake Shelton on “Hillbilly Bone,” which won vocal event of the year at the Academy of Country Music Awards. He played the role of traditional balladeer in “Every Light in the House,” put gritty sexual tones in “Hot Mama” and “Honky Tonk Badonkadonk,” and became a sort of family role model with “You’re Gonna Miss This,” which spent three weeks at No. Blessed with a wide range and a resonance so rich that KFC once hired him to do voice-overs, he’s collected 14 top 10 country singles that fit a panorama of styles. “And,” he added, “it’s got a lot of edge.”Ī lot of artists crave the sort of edge that Adkins has created for himself. “It’s got a lot of attitude, and it’s got a lot of smile,” Keith said of the album at a January press conference where he announced Adkins’ signing. It’s simply not in his field of view at the moment. ![]() Only in the swaggering final cut, “Whoop a Man’s Ass,” does he even approach dark subject matter. He still delivers a handful of ballads-the title track, “A Little Bit of Missing You” and “Break Her Fall”-that add some depth. Co-producing the project with Beard and Michael Knox ( Jason Aldean, Josh Thompson), he fashioned an album that’s long on positivity and humor, beginning with the opening double-entendre “Brown Chicken Brown Cow.” The redneck wedding tale “Hold My Beer” and the couch-potato anthem “Hell, I Can Do That” underscore Adkins’ newfound lightness. Judging from “Cowboy’s Back in Town,” Adkins has succeeded. I want to feel what that feels like again.’ “ I want to be that excited when I leave the stage. ![]() “When we got back to the bus, he said, ‘My gosh, KB, I want that. ![]() “When Trace came off the stage, he was so amped up,” Beard says of the first joint encore. Keith regularly trotted Adkins back onstage to duet during the encore on “Courtesy of the Red, White and Blue (The Angry American).” Much of that renewal can be traced directly to Adkins’ 2009 run as Keith’s opening act on the America’s Toughest tour. “I’m having fun again, so ‘Cowboy’s Back in Town’ just made sense to me.” “I feel as energized and enthusiastic as I did when I first got a record deal,” Adkins says. 17, it’s the first he recorded for Toby Keith‘s Show Dog-Universal label, and it bears the title “Cowboy’s Back in Town” to reflect the spirit of that day at the Clay County Fair. The album he started that September is bursting with brisk tempos and Adkins’ signature acerbic wit. “That’s what this business is supposed to be about.”įourteen years after he debuted on Billboard’s Hot Country Songs with “There’s a Girl in Texas,” Adkins is focused squarely on reclaiming the spark he felt at the outset of his career. “It was fun,” Adkins says now of the day’s creative burst.
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