Myles Kennedy

Myles Kennedy is undoubtedly one of the hardest working vocalists in the current rock scene. From his collaborations with Slash and the Conspirators to his integral role in the band Alter Bridge, both of whom delivered new albums in 2022, Kennedy has maintained an impressively prolific output in recent years. This continued momentum is evident in the release of his third solo studio album, The Art of Letting Go.

Q. What do you do when you have writers block?

A. When I have a writer's block,

I just put the instrument down and don't force it.

But then, sometimes, it just comes to me

I've had some of my favorite ideas happen.

When I've made myself do it..

You know, I used to be one of these artists.

Oh, you've got to be inspired. You have to wait for the full inspiration

You know, I have a couple of other things to do today anyway

You know, I don't feel inspired today.

But then, I heard from my dad who is friends with an author.

And the author said,

I can just go in my room and I work

whether I feel it or not.

And that was some of the best advice I've ever heard.

Some of my favorite ideas came because I forced the issue.

In fact, Watch Over You

Is a great example of that.

I wasted entire day.

This was 22 years ago.

I sat around waiting for the inspiration, nothing came

I just was a waste.

Iw as like god damn it

It's about two in the morning.

I'm not going to...

I'm just not going to let this get away from me.

So, I got up and went to my studio.

And I changed the tuning. And I opened G tuning

And the first thing I have is dum, dum, dum, ba da dum

And we were off to the races.

You know, and then I finished the lyric the next day.

So, there's an example of, you know, forcing the issue

and making myself go fishing.

And I caught a decent one.

So, (laughs)

Q. You have written and write with two extremely strong guitars, what can you say is the difference, if any, towards how you played or chose to write when working with them?

A. You know, we are writing with two really accomplished guitar players.

I feel like between slash and mark.

It's a different process.

So like the slash generally, the exception of Apocalyptic Love, because I was playing guitar on that record. So there were a few things I was bringing to the mix there. Just a few things.Just for the sake of melodies and whatnot.

Where's with Mark and I, yeah, it's more of a team. Sort of a dual guitar.

Team thing.

It's a team.

Each of us will bring in our tunes and the other guy will add their parts on top and to kind of make it sound. And bring one thing.

I don't, I don't turn it into demos and go, okay, well, here it is.

Here's all in your parts. I always say, like Flip.

That's the last thing Flip wants to is play my drum. My crappy drum programming. He always makes fun of my programming. I’m not a drummer. So I just kind of just see what I hear in my head.

It's a template, you know.

But, yeah.

I mean, I think that we definitely rubbed off on each other.

Mark and I in particular, as far as so much.

So many times we did press on the last few records, & people would say

So that's a, that's a, you know, that's a Mark riff

No, that was a riff I brought in.

That's mine & vice versa

You know, it was more poppy

Mark's got a great pop sensibility so,

if people would assume that was me, but no, it was Mark.

So I just like to mix it up, it makes it fun.

With his songs in this tuning, you know, the demos.

I was like, I'm gonna do it in a standard tuning

or have some down, because it changes the voice thing.

So if you have one guy, you have the drone,

and another guy.

Just to be in a different tuning and a different,

it's totally different.

But it makes it a wider spectrum.

You know, it's like a way inside.

It's a kind of crazy, cool thing.

Yeah.

Q. You’re a similar singer song writer to John Sykes. How did his passing affect you, if any.

A. John Sykes I feel like in a way he’s underrated, like criminally underrated. I went back and listened to, I didn’t know this, there was an album he put out in the 90’s called Loveless?…Is that what it what called

Loveland that’s right & I didn’t even know about that record, how, even being a fan, I didn’t know about that record,  but it was about more ballads but man when he laid into a guitar solo, his song writing, Ah he was. Just brilliant.

But guys like that, you know, we're able to wear many hats.

So I always looked at him. I just always would love to be able to do that eventually.

He raised the bar really high.

You know.

Yeah.

Yeah.

Q. Would you bring back songs that you have in the vault, and if so, which ones and why?

A. I like to bring back songs that have been in the vault, yeah oh yeah.

There were lots of players.

Love could only heal.

Was in the vault, for I don't know, eight years before that one came out.

Miss You When You're Gone.

That was, that one…2017.

When I was working on Year of the Tiger

It just didn’t fit.

And then there's parts that'll be floating around more over like Oh, I know if that'll be cool.

But yeah, there's a lot of them.

There's hundreds and thousands at this point that just kind of I'll never be hurt but, yeah.

Q. You have multiple projects sometimes happening around the same time. How do you chose which songs make it in each project?

It's easy. It was really easy for this record because this record is more of a rock record.

And I'm like, I'm liking doing it this way for the time being.

But there's still a thing with all the riffs. My heavy riffs, like the drop riffs, the ones that are just really heavy.

Like I can't use here. This is blue space. I never gonna go.

I'm not gonna, I can assure you I won't put out as a three piece.

You know, I think this works. We do it this way.

But if I start like, you know, really doing the chugging and all.

It's just, I mean, you know, the guitar player. And it’s a whole other thing. So.

That's all.

Yeah.

Q. How many hours would you say you play guitar and how has that changed through the years

A. I don't play guitar as nearly as many hours as I used to. Like when I was kid, when I was 20s,I was with guitar. That was six to…

Because I was practicing, had gigs and was teaching.

I had a six-night-week gig. So it was like, it was at least six to ten hours a day.

But what's happened now, and I'll just admit it.

You get older & just don’t play it just doesn’t let me do that as long

Yeah, yeah. But in some ways, it's good.

Because I feel like I'm a fresher that way.

I'm not as fatigued. Then there just that flow.

Yeah.

Coming just over two-and-a-half years after the acclaimed The Ides of March, Kennedy's latest 10-song offering provides ample opportunities for audiences to engage with its multifaceted musical and lyrical content. The already released singles - "Saving Face," "Miss You When You're Gone," "Nothing More To Gain," and "Say What You Will" - offer a tantalizing preview of the album's depth and diversity. However, a deeper dive into the record uncovers several other notable entries that further showcase Kennedy's songwriting prowess.

One such example is the album's early cut, "Mr. Downside." Clocking in at just over four minutes, the track presents an infectious musical arrangement led by Kennedy's guitar work. There is a certain quality to the melody that draws natural comparisons to the singer's contributions within Alter Bridge, while also evoking the radio-friendly sensibilities of Creed's hit singles. This accessibility suggests "Mr. Downside" could very well find success as a standalone single.

What makes the song particularly compelling, though, is the juxtaposition between its musical arrangement and lyrical theme. Rather than opting for a sharper, more abrasive sound to match the subject matter, Kennedy instead delivers a commentary aimed at those who stubbornly focus on the negative aspects of life. From the outset, the lyrics convey a powerful message, with Kennedy singing, "There is no purpose to forever/No destination that is far enough/There is no meaning when there are only bitter truths/But to be fair/You're not the one you were before/Not anymore/Don't tell me that the only way is down/With so much to come/What you can't see is a choice worth making/A voice worth saving/The lifeline I dare you to take/Take a chance along the way."

This comes across as the primary subject imploring the secondary figure to recognize that life is difficult, but they have changed, and there is still positivity to be found, if only they open their eyes to it. The seeming commentary continues in the second verse, with Kennedy singing, "You see the devil in the details/Most see the sacred in disguise/Into the chasm/Once again it's out of sight/Your possibilities are always left to die/So, Mr. Downside/Is this where you want to be/When will you change?" This direct questioning of the "Mr. Downside" character makes for a thought-provoking, accessible discussion on the importance of maintaining a balanced perspective, even in the face of life's challenges.

The album's penultimate entry, "Dead to Rights," offers a contrasting musical approach compared to the more radio-friendly "Mr. Downside." Where the latter track showcased Kennedy's knack for crafting infectious melodies, "Dead to Rights" is a heavier, deeper cut that nonetheless remains engaging and entertaining. Despite the increased intensity, the song still features moments of melodic hooks in the chorus, providing a dynamic listening experience.

Similar to "Mr. Downside," the musical arrangement of "Dead to Rights" serves as an interesting counterpoint to the lyrical theme, which centers on the primary subject calling out a secondary figure for their disingenuous behavior. This is evident in lines such as, "One more story/One more failed to mention/An allegory with no truth to bear at all/One more sleight of hand/No comprehension/Knowing all the while I cannot let you fall/Still, I turn a blind eye/How much can I take/As you walk the wire/That cannot bear the weight/You're dead to rights/And now I'm on to you/Still, you deny/But I'm nobody's fool."

The use of the phrase "dead to rights" makes it clear that the primary subject is calling out someone who is being fake and not telling the full truth. The indictment continues in the second verse, with Kennedy questioning the secondary figure's conscience and the validity of their tall tales. This familiar topic is approached in an engaging manner, further demonstrating the depth of content found within The Art of Letting Go.

The album's midpoint, "Behind the Veil," is yet another notable addition to the record. The song's musical arrangement establishes a contemplative foundation, with the opening bars giving way to a heavier, yet still introspective, sound. This blend of styles is reminiscent of Kennedy's previous solo work, with the bluesy touch he and his fellow musicians bring to the melodic, heavy arrangement making for a compelling listening experience.

The lyrical theme of "Behind the Veil" appears to be a commentary on the importance of appreciating what one has, rather than constantly focusing on what is desired. This is evident in lines such as, "You open up your eyes/To see the life you know/The devil cracks a smile/Reveals the debt you owe/It's a long, never-ending road/That's pretending to be your home/As you break where you're bending/You can't keep defending this anymore/The silence takes its toll/Hey, hey, hey/Now you know/Behind the veil is dust and bones/Left for dead/Every hope for tomorrow/As the sands of time run low/Now it's too late/So let it go."

The notion of the "devil" revealing the "debt" one owes, suggests a commentary on the price paid for pursuing elusive goals, and the realization that the grass is not always greener on the other side. This message is further reinforced in the second verse, where Kennedy sings, "Hey/Why can't you see/That what you take is never free/All the moments we trade/Leave us hollow/Never worth what we lose in the end/The deal was made and now you're spent." These lyrics deliver a direct statement about the true cost of chasing after what one desires, rather than appreciating the value of what one already possesses.

When considering the depth and diversity of the songs examined here, as well as the album's already released singles, it becomes clear that The Art of Letting Go is a substantial and welcome addition to this year's rock music landscape. Myles Kennedy's skillful blending of engaging musical arrangements and thought-provoking lyrical themes make this solo effort a notable achievement in the veteran singer/guitarist's impressive career. Looking forward to what else he has in his vault.

Zeuses Muses

Anna Manis

2/2025