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Myles Kennedy, the powerhouse vocalist of Alter Bridge and Slash’s band, is bringing his solo project to Budapest for the first time this November. We caught up with him ahead of his highly anticipated concert to talk about his new album, The Art of Letting Go. Myles opened up about the personal experiences that shaped the record, the profound influence Slash and Mark Tremonti have had on his growth as a musician and offered a glimpse into what his fans can expect from his live shows.

(text by Daniella Kiss – photo by Chuck Brueckmann)

Your new solo album, called The Art Of Letting Go, was released on October 11th. Could you please tell me what inspired that title, and what does ‘letting go’ mean to you in the context of this album?

„The Art of Letting Go reflects where I am in life right now. I’m trying to learn how to let go. I realized I went through a period where I was trying to figure out, “Why am I reacting this way?” or “What’s the problem here?” so, I started evolving and working on improving myself as a person. I began reading a lot, listening to lectures and audiobooks, and practicing this concept of ‘letting go’. It’s really about being less reactive and learning to go with the flow. I’ve been at it for about six years now, and I love it. It’s really helped me evolve.”

Your music often touches on topics like resilience and hope. Were there any particular personal experiences or moments in your life that shaped the lyrical direction of this new album?

„It wasn’t so much specific moments, but more an amalgamation of everything. You kind of stockpile emotions and feelings. I wouldn’t say there was one particular catalyst, but it’s often about reminding myself of certain lessons. Though there was a movie, called Speak No Evil that inspired the lyric on How the Story Ends, the last song on the record. It’s a dark Danish scary film, but there’s a great message in it that I needed to hear, about how you can get taken advantage of when you are civil and kind of a people pleaser like I am. The film brilliantly shows how letting things go too far can lead to that. So, that definitely inspired one of the lyrics.”

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Your latest solo album is sonically quite different than your previous two. How do you decide which direction to take or genre to explore when writing a new album?  Do you intentionally set out to explore new sounds and ideas, or does the reinvention happen naturally?

„It depends on where I’m at, what I’m listening to, and what I want to explore. A lot of times, it’s informed by the instruments I’m playing. For the Year of the Tiger, I went through an acoustic phase and found these old vintage acoustic guitars that I couldn’t stop writing songs on. Fast forward to now, and I had this signature guitar I helped design with PRS. Once we finished it, all I wanted to do was write riffs, so I thought, „Let’s make a rock ‘n’ roll record for the next solo album.” It was fun just sitting around, riffing all day. Even though I’m probably known more as a singer, I started as a guitar player, so making a riff-based, full-on rock ‘n’ roll record and playing guitar solos was something I was down for.”

Live performances seem to be an essential part of who you are as an artist. When you’re working on an album like The Art of Letting Go, how much do you think about how the songs will translate to a live setting?

„With the first record, I wasn’t even sure if I was going to tour it, so that allowed me to really use the studio and play various instruments—banjo, mandolin, lap steel. But we ended up touring that record and I realized I needed to be more mindful of how the songs would work live, especially since we’re just a three-piece. During the Ides of March tour, I realized making a rock record would be a good idea as plugging in and turning up would help fill up that space on stage. So, while writing the riffs for The Art of Letting Go, I was always aware of how they’d work live. I learned that lesson from the first two records because I had to change the arrangements for the live shows. If you see me play songs from Year of the Tiger, they can be very different from the way they were recorded just out of necessity.”

“When the universe drops something into your lap, you want to make sure the rest of the parts are up to par.”

Is there a specific song on the new album that challenged you to write or record? If so, why?

„Yeah, there were a few. The first single, Say What You Will, was challenging. I really liked the intro riff, and I knew it was an important moment when I came up with it. When the universe drops something into your lap, you want to make sure the rest of the parts are up to par. So, I chased that song down for four or five months, rewriting it over and over until I finally got it right. The title track, The Art of Letting Go, was also surprisingly challenging—I kept changing the choruses. When you’re writing alone, like I do for my solo work, it can be tough without a partner to bounce ideas off of, because that’s what I do with Mark when we’re writing together. Slash, on the other hand, would present a music foundation and then it’s my job just to put the melody and the lyric to it, so it’s a different process. When you’re left to your own devices, it can definitely be a challenge.”

As many fans know, you are also a member of Alter Bridge and Slash ft. Myles Kennedy and the Conspirators. How has working with both Slash and Mark Tremonti influenced your approach to music? Have you incorporated any specific lessons or techniques from them into your solo work?

„What I learned from both of them is a strong work ethic. Not that I didn’t have one before, but working with Mark, I saw how he approached writing in sections, and I realized it’s something I should try more often. Back in the Mayfield Four days, I used to sit down, and I try to write the entire song at once. I saw how Mark would come up with sections and then save them for later, so what I got from him was if you come up something you really like, be patient. Slash is a workaholic — he will just go forever, and seeing his level of dedication has been very inspiring for me. So, it’s not specific techniques I learned from them, but philosophies on how to be a better musician.”

Speaking of collaborations, have you ever thought about bringing in other musicians or vocalists for a song on your next solo album?

„For sure. There are tons of talented people I’d love to collaborate with, like Wolfgang Van Halen or Gary Clark Jr., but I’m kind of shy about asking people, afraid of inconveniencing them. Maybe that ties back to what I said earlier about being too polite. I’ve jammed on other people’s records, so maybe I’ll start with calling those people and asking them to jam on mine.”

“It’s almost a nightmare to think of not having music and the ability to create it. I love performing, but it’s the creative process that gets me excited.”

You’ve done it all—multiple projects, world tours, and critically acclaimed albums. After all these years, what still excites you about making music, and what drives you to keep pushing boundaries as a musician?

„I just love creating, that’s pretty much it. It’s all I’ve known for over half my life. Even when I finish a record and I tell myself “I’m going to take a break and find a new hobby”, it never lasts, and I find myself completely lost without it. It’s almost a nightmare to think of not having music and the ability to create it. I love performing, but it’s the creative process that gets me excited. There are still genres I want to explore and experiment with. I don’t know if I’ll ever have time to do it, but I’d like to do something more symphonic. I’ve written songs where I hear a vocal, but with a symphony or orchestra behind me. I’d like to write exclusively for that as opposed to what I did with Alter Bridge where we played the existing arrangements and then had the symphony add their touch. I have things that I would like to do exclusively with the symphony, but we’ll see, maybe I’ll finally do an Ella Fitzgerald tribute record — anything’s possible. (laughs)”

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You’ve been part of some incredible projects, including the movie Rockstar, toured with Kings of Chaos and even jammed with Led Zeppelin. Is there anything left on your musical bucket list that you still hope to achieve?

„I don’t know, I feel like I’ve been incredibly lucky. Even when I hear people mention those things, I still wonder how it all happened. I don’t want to be greedy, I mean I’ve had the chance to jam with the guys from Led Zeppelin, and I feel like that’s more than enough. I shouldn’t ask for more and should just be grateful for those experiences. (laughs) That said, if something truly different and intriguing came along, I’d be up for it. I’ve said it millions times that if Stevie Wonder ever called and wanted me to play or sing backup vocals, or if Nile Rodgers, the producer, invited me to come to LA for the same, I’d do it in a heartbeat. Anything unique and out of the ordinary would really intrigue and excite me.

I actually forgot that about 12 years ago, I did technically jam with Stevie Wonder. There was an event we did for Muhammad Ali’s birthday, which was broadcast. Slash and I played Wild Horses with Haley Reinhart from American Idol. A lot of different stars were there, like Lenny Kravitz and Chris Cornell, and at the end, everyone got up on stage while Stevie Wonder played piano and we all sang Happy Birthday. So yeah, I guess I did sing with Stevie Wonder after all. (laughs)”

You’re among the few artists with a signature guitar. How did that come about, and what makes your guitar stand out?

„That project had been in the works for about a decade. We put together one guitar in 2014, but it didn’t quite check all the boxes, so they reached out again in 2020. They knew I liked a certain kind of guitar that they didn’t have in their collection, so we agreed to put our heads together and design it for better or for worse. The process was great, but it was also really hard. I had no idea how tough it would be to design a guitar from the ground up, from the wood to the pickups, neck dimensions, and even the aesthetics. But once it was all finished, I absolutely loved these guitars, and they’ve really inspired me to play even more. As for everything I’ve had the opportunity to do, this project is definitely at the top of the list. PRS is a great company and Paul Reed Smith is amazing, so it’s been a lot of fun.”

Did you design everything on the guitar?

„I was very involved in the collaboration, spending a lot of time working with a number of people at the company. They would send a version, and I’d give feedback, like adjusting specific details. I even drew the pickguard myself. When it came to the neck dimensions and the colors, I had a very clear idea in mind, and they made it happen. They were kind enough to let me take charge of more aspects of the design than I expected. At the same time, I trusted their expertise. They’re one of the most respected manufacturers and designers in the world, so if they pushed back on something, I trusted their instincts. It was good to have those guardrails in place.”

You’ve been in the music scene for decades now. What’s one piece of advice you’d give to your younger self? Is there anything that you wish you had done differently?

„Oh, jeez, there’s so much I wish I had done differently. I’ve always struggled with believing in myself, for whatever reason. Sometimes, I think I was too polite and should have pushed harder or knocked down doors sooner to get things done a certain way. But, as my mom always says, things happen for a reason, so I have to look back and accept that it played out this way for a reason.

If I were to give advice to someone young wanting to get into this business, I’d say it’s a tough industry with the odds stacked against you. But if you have something that you really believe in and know it will resonate with others, you might be surprised by the outcome. But first, you have to ask yourself how bad you want it, because you’ll have to sacrifice almost everything. Belive me I did sacrifice a lot —in a good way—and it all worked out. But you got to be prepared to make those compromises and put in the time, like 10,000-20,000 hours to develop your talent.”

“I live in a kind of oblivion, just like a kid walking around with a red balloon thinking, “I want to write a song today”, oftentimes forgetting about how many people might hear it.”

You’ve become such a successful and influential figure in modern rock music, yet you remain incredibly approachable and humble. How does it feel to know that many fans, especially younger musicians, look up to you and how do you approach that responsibility?

„It’s amazing to hear that, and I appreciate it. I honestly kind of forget, because I live in a smaller town, not in Nashville or LA, where I’d get reminded of that or run into people often. I don’t generally get recognized where I live, so I forget that in certain parts of the world, there are fans who appreciate what I do. But I think that’s good for me, because if I were surrounded by that constantly, it might affect me creatively, maybe even stifle it. I live in a kind of oblivion, just like a kid walking around with a red balloon thinking, “I want to write a song today”, oftentimes forgetting about how many people might hear it. I like operating this way because it keeps it pure, keeps me from getting in my own way, and keeps the ego out of it. I’m very conscious of that—how the human ego can affect the creative process. But hearing that people care and listen to the things I’m part of is amazing, and I’m deeply grateful.

I really appreciate the fans, believe me. It sounds like a cliché, because people always say, “Oh, my fans are great”, but I know that my fanbase is truly passionate, my manager reminds me of that often. (laughs) They aren’t fair-weather fans; they’ve stuck with me through thick and thin and that’s what has given me a career. That loyalty has allowed Mark, Alter Bridge, and Slash to have careers. We all are very cognizant of that and very grateful for it, which is why we work so hard to try and give music to people hopefully they’ll like.”

What can fans look forward to in your live performances on this solo tour? Any special songs, like the acoustic version of The Trooper?

„I was thinking about this last night because The Trooper has kind of become part of the set. People are always like, “Play The Trooper!” It started out not as a joke, but just as something to fill the set when I was doing Year of the Tiger, and now people seem to really like it. So, I’m hesitant to pull it from the set—it may stay. We’ll start rehearsals next week, and we’re going to play a lot of songs from the new record because they’re meant to be played live. I’m hoping to do a lot of guitar improvisation and stretch out songs, just having fun with solos.

That’s not something we do as much with Alter Bridge, though we did it with Burn It Down for a while, where Mark sang, and I played lead guitar. I stretched that out, but on this solo tour, I want to do even more of that. Not with every song, but there’ll be a few where I change the solo every time. When I was a kid, I loved going to shows and seeing something unique in the performance, like knowing the guitar player would never play the solo the same way again. It made the night special for me, and I want to bring that same feeling to my fans.”

Do you have any upcoming projects in the works with Alter Bridge or Slash?

„The news is already out that Slash, Todd, and Brent are in LA working on some new material. The plan is to get those guys in the studio to record in November. I’ll be on the road, so the challenge is finding time to track my vocals. I expect to get into the studio at some point next year to finish the record. As for Alter Bridge, we’re trying to figure that out as well. Scheduling is tricky. We’re definitely a nightmare for our agents and managers with all the irons we have in the fire.”

Lastly, having played in Budapest before, do you have any special memories from your previous visits or is there something in particular you look forward to experiencing when you come here again in November?

„You guys have to know this, Budapest is one of the most beautiful cities in Europe without a doubt. I mean, it’s stunning. So, just a lot of walking around. I don’t know if I have a day off that day, hopefully there’s some time off, but just exploring and just taking in the sights and sounds and the food and the whole thing. That’s the beauty of being a touring musician, you get to visit beautiful places. It’s funny because I talked to friends and when they talk about retiring and they’re like “ohh, when I retire, I can’t wait to travel the world”. And I go “Well, IF I ever retire, that would be the last thing I would do because I’ve already been able to do it”. So, yeah, that’s one of the perks of being a musician.”