MavStar

Myles Kennedy: The Hero We Needed to Hear From

April 15, 2020

Myles Kennedy is no stranger to connection with his fans.

And nowhere was that more apparent, or more welcomed, than during last night’s (April 15th) “Behind The Mic” series performance, presented by American Songwriter.

In just over 40 minutes, Kennedy delivered a masterful setlist, spanning his illustrious career across several bands—and more importantly, providing his trademark resolve during uncertain times. 

Because just like his fans, Myles has experience with uncertainty first-hand in the most personal way possible—his own upbringing—losing his biological father at a very young age. 

And if anything is clear from the comments of the over 8 thousand fans tuned in, last night, they were all more than appreciative to hear from Myles, and his rich library of songs.

From his self-professed “man cave,” where Myles says he does most of his writing, the walls are adorned with relics of his already accomplished career with multi-platinum selling artists Alter Bridge and Slash. But herein lies the brilliance of his set last night: 

Armed with only a single guitar and a single voice, Myles went far beyond what could have ever been expected.

Never one to rest on his own laurels, Myles dug deep into his song choices. Like, really deep. The songs, the stories, the introductory riffs that teased later development of songs that would become staples of his catalog. 

In unprecedented times, Myles Kennedy simply delivered a performance for the ages.

Beginning with his solo title “Year of the Tiger,” Kennedy unfurled his signature howl within the outro that left no doubt that he was 100% going to be “in” on this performance (remember the ‘man-up’ moment from RAH?).

Myles then proceeded to harmonize his way into the “Standing In The Sun,” also demo-ing the signature Slash guitar riff that chugs its way into the opening verse. (Of note, Myles spoke of the difficulty of a chorus—which on this song, just happens to be one of the best of any within the Slash w/ Myles Kennedy and the Conspirators.)

These interludes, where Myles spoke of his song-writing process, is what sets this performance apart as a stand-alone, even among die-hard Alter Bridge fans.

Sure, most fans have heard the story of Blackbird. Or perhaps some of the other key Alter Bridge songs (most recently, Godspeed). 

But where this performance entered uncharted territory itself, was when Myles expanded the history behind some of the deeper cuts.

“All Ends Well” even made an appearance—a track, that up until this point had only appeared on the Myles Kennedy solo tour, and has never been played live by Alter Bridge, though Kennedy reflects that there is something that is “special” about that song.

Of course, we got the classic “Watch Over You” which hinted at the brilliant collaboration—even in the early stages of Alter Bridge—between Myles, as a gifted lyrcist, Mark Tremonti, as a master songsmith and Elvis Baskette as an elite producer—talking about how powerful it was during the pre-production of the Blackbird album.

Honestly, the story within the context of this song was the highlight of the night for me. Names like Ian Thornley, Tom Petty and even Dan Fogelberg—were referenced by Myles—demonstrating an acute respect for astute rock history that is every bit as authentic as the music he plays. 

Myles was even able to name (some almost 20 years later) the exact track number that he was a guest vocalist on Big Wreck album featuring Ian Thornley in 2001. Track #10, “Breakthrough,” if you are keeping track.

“Love Can Only Heal” closed the night, fitting for the times, in many ways. No other words can be said to adequately describe the feeling of that performance—you need to experience that for yourself (40:02).

If Royal Albert Hall was the scene of Alter Bridge’s finest performance, Myles’ “man-cave” may very-well could have been the scene of his.

Within the context of social distancing, last night’s broadcast offered not only Myles a chance to reconnect with his fans, but, for his fans the chance to reconnect to each other. 

For the entirety of the Facebook broadcast, comment after comment scrolled by among familiar, but now socially-distanced faces:

Thank you for doing this, Myles!” or “Beautiful Song.” “We sooo needed this!” And simply, “Sing!”

Once again, Myles—and the music of his bands Alter Bridge, Slash, and Mayfield Four—defied all odds brought people together from all over the world, when everyone needed it most. 

And for 40+ minutes last night, you couldn’t help but feel that our hero, Myles Kennedy wasn’t just singing for us, but fighting for us andcheering for us, all at once. 

And there’s no other voice we’d rather hear it from, and it’s a broadcast you’ll want to re-watch again and again.

Setlist (with start times)

1. Year Of The Tiger – MK (3:45)

2. Standing In The Sun – SMKC (11:40)

3. All Ends Well – AB (19:01)

4. Lyla (bonus riff!!) – MF4 29:11)

5. Watch Over You – AB (29:58)

6. Love Can Only Heal – MK (40:02)

Best Coast returns with their most aware and well-rounded album to date—fit to chase away those pesky winter doldrums. With songs that range from the upbeat, to the vulnerable and to the anthemic, “Always Tomorrow” –the band’s 4^th album—will almost certainly be viewed as the band quintessential album that solidifies the female-fronted alt-rock duo’s well-earned status among fans and critics alike.

For fans of Weezer, the Go-Go’s and Hole, you will love this album. For fans of Best Coast—made up of Bethany Cosentino and guitarist/multi-instrumental extraordinaire Bobb Bruno, make no mistake: “Always Tomorrow” will have you loving Best Coast even more.

The album opens with “A Different Light,” which hits with the sudden urgency of morning sunshine through a pulled curtain. But as the infectious mid-song bridge rains in with the “wait wait wait wait” refrain, you just can’t help but not want to wait to see what the rest of the album has in store.

With clever clichés with unique twist sprinkled in through the album (“I escape to witch mountain every day” in “Everything Has Changed”), the album continues it’s beach party-esque stomp through rolling waves of emotion.

From the content-sounding “For The First Time,” the band finds itself in classic form—as Cosentino retorts, of the “Graceless Kids,” “They need a hero, not a wreck.”

Not once does Bethany convey that she is perfect, though she questions “So why do I keep pushing myself?” in “Wreckage,” a crunchy, bright indie rock gem that is every bit as realistic as it is forgiving.

Throughout the album, you get the sense Bethany is owning up to something, and moving on. You get the sense that she is wiser for whatever may have happened to her, and accepts herself for being human—and not perfect. And, you can just feel it: She has the confidence of having a treasured friend (& musician) like Bobb Bruno at her side. Something we should all be so lucky to have.

As the album winds down with “Make It Last” and “Used To Be,” you get this coming-back-to-earth feeling—that whatever journey Best Coast has been on these past 5 years (since 2015’s “California Nights” album), that by returning—they’ve been able to move on.

Thankfully with a tour this spring, they’ve invited us to join them. https://bestcoast.net

So if “Always Tomorrow” was lead singer/guitarist’s Bethany Cosentino way of working through depression, feeling comfortable in her own skin, and accepting her journey (as she professed in a series of emails announcing the new record), well, then this album demonstrates not only her talent as a songwriter, but her strength as a person—something any listener of any genre, and any gender can relate to.

Perfectly.

Best Coast “Always Tomorrow”

February 21, 2020

11 songs, 39 minutes

Rating: 5/5

February 17, 2020 (Denver, CO)

It just isn’t natural for one band to be this good for so long.

Then again, Alter Bridge hasn’t always played by the rules—a playbook that suits their fanbase just fine.

Amidst a snow-flurried evening at nearly a mile high above sea level (5,280 feet), Alter Bridge tour through a fiery set to a packed house at Denver’s historic Ogden Theater.

“There’s just something about this place that we love playing,” lead singer Myles Kennedy remarked to a boisterous crowd, many with cups of the Mile High City’s finest held high between balled fists and rock horns.

But that would be a rare break from the band in a night that saw the band rip through a blistering set list.

Like all sets on the Walk The Sky tour, the show began with the “One Life,” a synth-laiden track awash in swirling guitars and echo-swooned vocals.  At only 1:30 seconds, the opening track on the band’s 6^th studio album is also both striking (and fitting) in its ability to outlay the perfect canvas 100+ minute masterpiece crafted by a 17-song setlist 15 years in the making.

That singular track is that rollercoaster moment, where you realize you’ve reached the top of that first hill, and that there is no turning back. And you had better hang on.

Down the setlist Alter Bridge tore, hitting fast with the upbeat fist-raiser “Wouldn’t You Rather,” before throttling into the pulsating fury of “Isolation”—a fan-favorite from 2010’s AB3 album, before whiplashing back to “Pay No Mind,” from 2019’s Walk The Sky album.

Lead guitarist/songwriter Mark Tremonti, who with Kennedy, co-wrote much of Walk The Sky, dive-bombed, shredded and cut his way through line after line of death-defying solos—all while supported by the rhythmic craftsmanship of drummer Scott “Flip” Phillips, and the thunderous bass-stylings of Brian Marshall.

Perfected in delivery and effortless in transition, the band’s live set incapsulated tracks from 2019 that interplay brilliantly with hits from their 2004 debut album, as evidenced by the inclusion of “Ghosts” (2010), “Broken Wings” (2004), and book-ended by modern rock hit “Native Son” (2019). (A full listing of album release years can be found in the setlist posted below. It’s quite astounding, and deserved its own section.)

The seltlist continued its “rock” down memory lane, while hitting a full, unabashed sprint towards tomorrow. “Native Son” was followed by “Rise Today”—with the sing-a-long bridge culminating in cathartic harmony as a Colorado flag (singed to the band, from fans in attendance) was raised in the front row, and Tremonti brought the house down with that solo—followed up with “Cry of Achilles.”

As much as Alter Bridge appreciates their past, they’ve never forgotten their future, or their fans, as band loyalists were treated to “Forever Falling”—a song written and performed by the man, the myth the monster, Mr. Tremonti himself—and then peacefully transitioning into “In Loving Memory.”

What arguably every fan waits for at every Alter Bridge show, though, is the solo that has been named time-and-time again one of the best solo’s in rock music, of all time. And as I scan the room at all of us taking in “Blackbird,” having different pain for different reason, Mark—even for just a moment—takes it all away—performing what amounts to fret-board surgery on thousands of broken hearts at one time. Including mine. 

What feels great though, is being brought back to life after that song—often with “Open Your Eyes”—as was the case last night.  Kennedy remarked that in the 2004 video—the first the band had ever made—he didn’t quite know what to do with his hands.  He knew plenty what to do with his voice, however, as the over 1 million combined views on YouTube (studio, acoustic and live versions of the song) can firmly attest to.

And of course, we got “Metallingus,” and a chance to do the “Mettalingus mosh”—Mile High style.  Honestly, the crowd didn’t quite get it.  No bother, though. The band still came back out and finished out a roundhouse right/left combo of “God Speed” and “Addicted to Pain,” before bidding us all “See you next time.”

The setlist represented a hard rock time warp, as triumphant as it was rebellious, for a band that has courageously faced, head-on, a challenging rock music environment in the United States, while thriving in European markets—drawing 15,000 per night, easy. 

However, no matter the venue size and no matter the location, hang around any AB show long enough, and the talk will inevitability gravitate from how great their music is, to how great they treat their fans.  From well-orchestrated Meet and Greet experiences offered at each show, as well as songwriting clinics offered by Mark Tremonti, fans are highly appreciative of anything and everything this band continues to do and stand for.

In fact, today, the band announced their third US leg of the Walk The Sky tour.

And fans are already planning to walk the sky, once again, for a band that has fought and naturally—with great music and great experiences—has earned their respect, for the last 15 years running.

Alter Bridge

Denver, CO – February 17, 2020 (Ogden Theater)

1. One Life (2019)
2. Wouldn’t You Rather (2019)
3. Isolation (2010)
4. Come To Life (2007)
5. Pay No Mind (2019)
6. Ghosts (2010)
7. Broken Wings (2004)
8. Native Son (2019)
9. Rise Today (2007)
10. Cry of Achilles (2013)
11. Forever Falling (2019)
12. In Loving Memory (2004)
13. Blackbird (2007)
14. Open Your Eyes (2004)
15. Metallingus (2004)
16. God Speed (2019)
17. Addicted To Pain (2013)

Alter Bridge set: Appx. 100 minutes

Support: Clint Lowery, Deepfall

Your new favorite rock band could be from halfway around the world.

Bought any music yet in 2020? 

Check out Viridian, the latest release from Italian symphonic metal band Temperance. 

Comprised of no less than three vocalists in each song (harmonizing beautifully), including an especially strong female vocalist (one of the best I’ve heard in rock music in years), the 5^th album from Temperance (Viridian) is equal parts indescribable and undeniable—offering driving guitars, infectious, modern rock melodies and anthemic lyrics that implore the urgency of climate change—and the collective hope to change. It’s all too real, and it’s so right now.

Viridian opens with an ominous flare for the future with “Mission Impossible”—a pulsating and bombastic rocker set to the pulsating drums of Alfonso Mocerino—a song that one of Temperance’s vocalists Michele Guaitoli described in a preview video as being inspired by the classic movie of the same name. “Something’s gone wrong,” the lyrics begin—a tonality reflective of the lyrical content and emotional expanse to come on this amazing album.

With persistent themes of loss, resiliency and environmentalism (‘viridian’ is green, and is thought to symbolize “the color of life”), Temperance writes lyrics throughout Viridian that are poetic, poignant and exhilarating. “Now it’s time to give voice to the pain of my broken heart,” the stunningly talented female vocalist of Temperance Alessia Scolletti belts out on “I Am The Fire,” an adrenaline-inducing track that defines incredible lyricism—with a jaw-dropping YouTube video that is every bit the symphonic metal version of a motivational poster. And, it just feels good to read the lyrics as they spill across the imagery of twirling fire batons and spiraling ashes.

Other highlights of the album include the title track, “Viridian” as the talented guitar stylings of Marco Pastorino and bass guitar crafting of Luca Negro ascend urgently into a magnificent chorus. “Viridian, your warmest energy!” the triad of vocalists passionately cry out in an intoxicating blend of both beauty and desperation. In fact, for me, with each listen, it gets harder and harder to tell if the lyrics in these songs are about a friend, or, if they are about the Earth. 

And it is exactly in that blurred meaning, that the album achieves its greatest success: Setting a tone of harmony between mother nature and the listener—an accord between both the blue of despair and the green of hope and new life.

In no song is this more evident than in “Gaia,” a tender and apologetic lullaby that begs forgiveness, recognizing “we were meant to make you rise.” And whether the ‘you’ in the song speaks of Gaia (a being, of some sort) or Gaia (the Earth) is a bottomless wonder that further connects the Earth to the complexity of human spirit, and the sincere desire to change for the right, out of hope that “tomorrow will spare our souls.”

But for all the album’s complexity, perhaps it’s the organic simplicity of Viridian’s closing track, “Catch The Dream,” that is a most fitting and fantastic ending for the opus. Framed largely in handclaps and village tribal-esque harmonizing, the band implores “May tomorrow come, to catch the dream, our voices will begin to sing!”  The simplistic radiance of the song, set amidst the preceeding backdrop of some of the best symphonic prog-metal in years—is perhaps the point of the album: That when things go wrong, perhaps they go right again when we are willing to go back to where they start.  

For anyone looking for a great start to their 2020 music collection, Viridian by Temperance is indeed a great start. This album was my start with them, and the way I felt after listening, it’s only the beginning.

https://www.napalmrecordsamerica.com/store/search/?q=temperance