AEROSMITH Stars In New Ad Campaign For Las Vegas

January 30, 2020

Live Nation Las Vegas residency artists AEROSMITH, Shania Twain and Christina Aguilera are starring in the ad for Las Vegas' new slogan, "What Happens Here, Only Happens Here," which continues to reinforce the legendary brand's status as the paramount purveyor of adult freedom. The new campaign launched during the 62nd Grammy Awards, making Las Vegas the first destination to ever place a 60-second ad during the international broadcast and the first to debut the campaign with an emoji prompted by the campaign hashtag #OnlyVegas on Twitter.

Las Vegas tapped into its roster of star-studded resident performers to showcase the destination in a way that Only Vegas can. AEROSMITH filmed their part during one of their "Deuces Are Wild" residency dates at Park Theater at Park MGM, while Christina Aguilera filmed her part on stage at Zappos Theater at Planet Hollywood Resort & Casino, where she performs her residency, "The Xperience". Shania Twain, who also performs her "Let's Go!" residency at Zappos Theater at Planet Hollywood Resort & Casino, was filmed riding a horse through Fremont Street Experience.

"Las Vegas stages have been graced for decades by the greatest legends of all time and it's a privilege to be invited to join a community of such a diverse live performance history," said Shania. "There is no greater place on earth to perform my music."

The ad was filmed in Las Vegas and is airing on major national and network channels.

AEROSMITH recently extended its Las Vegas residency with 15 more dates in early 2020 due to "extraordinary demand."

AEROSMITH guitarist Joe Perry told "The Eddie Trunk Podcast" about the "Deuces Are Wild" shows: "We really didn't know what to expect when we came in here [to Vegas]. We were talking to different people who have done it. I know that rock bands have come in and done two or three weeks, a month maybe, and what we saw was most bands would just kind of strip down their regular live show, bring in a little bit more production. And then we also saw… We looked at a lot of different shows — everything from 'Love' to David Copperfield to every other choice of acts on the [Las Vegas] Strip. And we decided that if we were gonna do this, we were gonna make it be not just if you wanna see AEROSMITH, but if you wanna see a rock and roll band and have that kind of music. It's like if you wanna go to see the 'Love' show and see THE BEATLES stuff taken apart and put together in a really amazing way, you go to that. If you wanna see magic, you go to see David Copperfield. If you wanna go to a Cirque Du Soleil show, there's a number of 'em you can go to see. So we wanted it to be a little more than just for AEROSMITH fans. We wanted to have it so that even if you just had heard of us, maybe you'd come and you'd be entertained"

AEROSMITH enlisted THE BEATLES archival producer Giles Martin, who co-designed the sound for Cirque Du Soleil's THE BEATLES "Love" show, to supervise its sound in Vegas.

"I think the whole thing is the learning process," Perry continued. "We wanted to keep the thing real rock and roll, but put on a big show. And so when that was being put together, there was always a rub, because there was a lot of computerized stuff, because there are so many moving parts. And there are probably four or five different areas of people running things, because there's so much just moving parts, lights — all that stuff — and you just can't run it like a regular show. But we did study some of the pop acts and things like that, and since we don't have 16 dancers up there, and we probably never will, we thought that we would try a few things to bring up the level of the music itself. And we realized the best thing we could do is just keep it stripped down to AEROSMITH. And we filled in a few things — we have a percussionist and another background singer to help fill it out, just something that we wouldn't be able to do on a regular tour. But what we realized during the first run was that the more of the real essential AEROSMITH we could give, the better the show was inside of the production around it. And playing some of the songs in that setting made it that much more entertaining, and more entertaining for us, 'cause we realized that we could be a lot looser — probably closer to how we would do an afternoon gig at a club. That kind of loose."

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