Myles Kennedy: "In any sort of art form you have to work at it"

Myles Kennedy is just one of these guys that I could talk with every once in a while and always find it interesting and inspiring. He's the epitome of what I'd call the humble rock star, and through his kind spirit and his calm tone of voice there's always something nice to take away from his words.

A few hours before the release of his third solo album "The Art Of Letting Go", I had one more chance to chat with him and ask him about everything I needed to know about his – once again great – new work. As I imagined the title of the album reflects the state that he's in his life right now, while musically he explains how different it was for him writing songs having in mind a rock n' roll trio to perform them live.

From his vocal influences to the kind of guitar players he admires, and from his upcoming tour in Europe to his mutual respect and admiration with Devin Townsend and then to his future plans with Slash & The Conspirators and Alter Bridge, there's a lot to read (and admire) in this interview with one of the nicest guys in rock music, these days. Needless to say one of the most talented as well.

Hello, Myles.

How are you doing Chris?

I'm doing fine. How are you?

I'm doing very well. Thank you.

Thank you for your time. Always a pleasure and a privilege.

My pleasure.

We've done a few interviews in the past…

Yeah!

And I'm always super happy, because I admire you as a person and as a musician. And I don't see that changing any soon.

Well, I'll try not to change that in the next few minutes… (laughs)

So, lots of questions and limited time! So, I'll start by congratulating for your new album, "The Art Of Letting Go" It's once again really good. I don't think you're gonna fail in any way by now...

Thank you. Thank you very much. It's a rock n' roll record this time, a little louder.

This time is a real sense of calm. Because, that's where I'm at in life now

And it's gonna be released in a few hours. Maybe in some eastern parts of the world, where it's already Friday, so it's been already released. I guess it must always be special feeling when something you've been working on for a long time goes out to the world. How does it feel for you now?

Well, it's good. You know, it's different because now that it's the third solo record, it's not the same level of anxiety… maybe there was a little bit of anxiety on that first one. This is the first time you're putting a solo record out… It's your name. This time is a real sense of calm. That's because that's just where I'm at in life now and I try not to get too stressed out. So, yeah, it's more an excitement and more just looking forward to touring.

For me, in a lot of ways, making these records can be an excuse to go back out and tour. Although I do find the creative part the funnest part. That's the part I love more than anything. But now that's about to drop, I know that in a few weeks I'll be able to hop in a plane and travel across the seas and play for people. So I'm excited.

All right. We'll go back to the tour later on. For now, I'd like to know how long has it been since you started working on this album up to the release date tomorrow. Has it been like a long procedure for you? Or was it a fast-paced album for your standards?

Well, I had a handful of ideas. There's this song called "Miss You When You're Gone" that I started a long time ago and then the song called "Eternal Lullaby", which I wrote back I think in 2018. But other than that, everything was written within about a 5-6 month window, which for me is pretty on par. It's about the average. I think I've been doing it for so long that it's something that it's just your repetition and you just figure out how to do it and be effective at it and do it in a limited amount of time. So yes, I'd say 5-6 months total to write and then record. We recorded it in October or September of last year.

I've really learned to trust that initial instinct. And not overthink it, because I feel like that can get you into trouble

As you mentioned, you've been doing this for too long. By this time of your career, do you prefer to take your time and work on every detail on everything you do, or you see yourself trusting your gut feeling more and more when you work on new music?

I really do rely on the gut more than anything at this point. You know, a lot of times I used to obsess about melodies and rewrite melodies. There were a handful of songs or moments on this record where I really had to go back to that old way of doing things because I just wasn't quite happy. But for the majority of them, a lot of it was just the first thing that would happen, as I was playing the riff or as I was coming up with the chord progression. And I've really learned to trust that initial instinct. And not overthink it, because I feel like that can get you into trouble. I can't tell you how many songs in my catalog of the bands I've been a part of or solo stuff or whatever, where I'll still hear the original melody that I sung, even though I didn't record it that way, and I always kick myself saying I should have just used that that original…. (laughs)

Well lesson learned… Which would you say is the main the main difference between "The Art Of Letting Go" and the "Ides of March"? I'm not putting "Year Of The Tiger" in the discussion because it was really different in many levels, so I wouldn't compare them, but with "Ides Of March" what are the major differences you see between two albums?

"Ides Of March" I had so much time to work on it. Because of the because of the world had shut down and I demoed it extensively. So a lot of that was basically the pre-production, a lot was just done in my studio by myself. You know, it's funny because people will hear those demos and they go "It sounds just like the album". Maybe the sonically it's not as grand as what Elvis would bring to the party as an as an engineer and producer but it as far as the arrangements and everything… that was it was pretty much done with a with one guy.

But as far as this record, I wanted to leave it open. So I wrote the songs. I did really rough demos really quickly. It just took a few days and then sent them to the guys and just really wanted people to fill in the blanks and bring their own personality into the equation. So that made it… I don't know… it just was a different kind of process and it wasn't as labored. It wasn't as overthought, which I think turned out for the best.

Do I have other things I'd like to try eventually, that would be a little more grand and require more people or maybe genre wise would be different? Sure!

Yeah, I think it did too. But you mentioned before that it's a rock n' roll record and at its heart I think it's indeed a rock n' roll record. Maybe stripped down, trimmed a bit from the fat. It's basically riffs and hooks and that stuff. So do you feel by that by this third solo album you've kind of settled down regarding the artistic side you want to present as a solo artist? Or could this be an ever evolving thing into different directions that you have in mind in, regarding your style?

That's the $1,000,000 question! Because I don't know!

This was f born out of necessity, because the three of us, with Zia and Tim, kind of became a thing. In the way that we tour, we enjoy hanging out and playing music together. And as a trio, playing rock n' roll, it works. But at the same time, do I have other things I'd like to try eventually, that would be a little more grand and require more people or maybe genre wise would be different? Sure! And I guess we'll see how that plays out. But for the time being, I feel very comfortable where this is at. And I think I'll know more when we're done touring, if it's something I really like touring this way, then I could see making another record like this.

It seems like with Zia and the Tim you've established like a solo band there. Would you say that, consciously or unconsciously, while you're writing songs, you have them in mind, like how you'd like to perform these songs as a trio?

Absolutely! Yeah, that's how I went into this thinking "OK, is this going to work as a trio?". Not like when I would bring things in for Alter Bridge, where I would know that it's like "OK well, Mark will add a part here" or if I wrote a part that I couldn't sing and play at the same time, I would write it with Mark in mind. Whereas with this it's really about "Am I going to be able to play all these guitar parts and sing it at the same time? And how's that going to translate live?" Is it going to sound to anemic? Is it going to be too sparse? And that's part of the challenge with this. Writing for a trio is very different than writing for a four piece. It really is! So, I enjoy that.

Really, how different is it to have Tim as a band mate rather as a tour manager? Is this a different balance you have to keep there?

It's not that different. I mean, I think that he started off as a musician himself, so he gets it. As the years went on, he got into management and does it really well. The thing is for me… we rehearsed a couple weeks ago and we're working on parts and everything. And when we're just trying to get things fine-tuned, it's just a matter of being diplomatic about it and really just being like "hey, you know, let's address this part, make sure this part's tight". And he's cool with that. And Zia is cool with that. If they hear something that I'm doing and they're like "hey, you know, what about this here?". So, I think we all are on the same page that we just want it to be good. We just want to be tight. And the good thing with this band is everybody has a real strong work ethic, and we don't have any slackers… (laughs)

Who'd dare to be a slacker, playing with Myles Kennedy?

(laughs)

In any sort of art form you have to work at it

"The Art Of Letting Go" is a strong album title. I'm sure you've heard it many times by now, and I think that this is a lesson learned in life as it goes by. So does this title characterizes you somehow? You know, learning to let things go… does this characterize you as a person in this time of your life? And how much this mentality affects you as an artist? And of course, why is it an art?

Well, first of all, it's an art because it's something you have to work at it. In any sort of art form you have to work at it, right?

And, yeah, it is where I'm at this point in life. Learning to let go and learning to live or attempt to live in a state of equanimity. You know, where you just let things fall as they may and just recognize that's just the way it goes. And that's fine! As opposed to fighting it, which is what I used to do. You want certain things to turn out a certain way and you get it into your head and you idealize things. And I'm at a place in life now, I'm just happy to wake up every day… (laughs) And so I'm really embracing this new psychological navigation tool, which is to be more mindful and present. And I really enjoy living this way.

My songs are like ways to work through issues or also ways to remind me to try and improve

The title of the album and of what you just said, I think reflects in most of the lyrics, even though it's not a concept album. While I was reading them and listening along to the album, there is something thoughtful. There is something that you have to take as a lesson from the lyrics and I guess that relates to the title. And that was your conscious mindset when you wrote the lyrics, right?

Sure, yeah. And with these solo records in a lot of ways and even Alter Bridge to a point, with the lyrics, a lot of times I'm just trying to remind myself of things. The songs are like ways to work through issues or they're also ways to remind me to try and improve. There's a part of me that's hesitant to do that, cause I'm always afraid it's gonna come across as preachy to the listener. But, in all actuality it's just me trying to drive a point home. So, as I'm singing it ,or even as I'm talking about it like when I've been doing these interviews, it's just a constant reminder to stay in the space I want to be in. So it's really just a self-help put to music for me.

Yeah, I get it. And I think that's an authentic way. You know, an original way to get across a message with the lyrics.

Yeah, yeah.

David Bowie is one of my favorite artists and singers of all time. And what I found with listening to him as he evolved as his vocal, he didn't stand in his upper register as much. And I found it pleasing to my ear

So as time goes by, there's is an observation I've made. I've noticed that you tend to kind of compromise, by means of being milder, both vocal and guitar wise. I mean, you don't go for these high notes with your voice and you don't showcase your incredible guitar skills with extensive solos and stuff. And I know that your overall a low profile person. So, do you think that this reflects in the music you write as well? Why do you choose to not use some of these powers that you have?

I think as far as the vocal side, the singing higher and all that, I found something as time went on… David Bowie is one of my favorite artists and singers of all time. And what I found with listening to him as he evolved as his vocal, he didn't stand in his upper register as much. And I found it pleasing to my ear. And I was like "ohh, I kind of like that". So, I would go back and listen to parts of my catalogue and I get the high stuff and it cuts through in a hard rock thing well. But there's something about the lower register that at one point I felt like I was neglecting, I wasn't using as much as I felt I should be. And so I tend to utilize that more now just because I like the way it sounds. But I do like to occasionally go for the higher note here and there, just to kind of punctuate. I

It's the same way I feel about the guitar stuff, where it's like instead of just playing a bunch of notes all the time, I want it to be more melodic and soulful. And once again, the guys that I love as guitar players, that's what they did. There's a guy named Larry Carlton, who's a session player back in the back in the 70s and 80s, just a great studio player. And he always played these gigs. He played, like, on Steely Dan Records, and just tons of records. You've heard him, surely. And he would always play these really great melodic parts and really tasty. And I didn't realize that he had chops until I heard some live things. I was like "oh man, that guy he totally got chops" But, he chose not to use it all the time and just kind of had it in his arsenal when he needed it. And I remember being young and going "that's cool". Like the fact that he didn't need to show off. Because to me it becomes… I think when you overuse a lot of that, depending on the kind of player that you are…. cause there's a lot of guys who play fast all time… that's fine it works great for them. But for me and the guys that I looked up at… I like the fact that he's got this incredible superpower that he only uses once in a while.

Yeah, he used it with wisdom, right? Like, if you have a superpower you have to use it wisely…

Exactly!

I've heard you talking a lot about your vocal influences over the years and there's so much of them, which I think makes it interesting. You know you have the classic rock influences like Ian Gillan and Robert Plant and the heavy metal ones, like Rob Halford and Bruce Dickinson. Also, I've heard you talk about the alternative side of Jeff Buckley and Tom Yorke and then there's the blue influences, from the American Songbook and female singers like Emma Fitzgerald. All quite different of you think about it. Where do you think you stand closer as a vocalist and as a performer as time goes by?

What am I closest to with all of those? Is that the question?

As far as the singing style, I'm really happy because I finally found who I am. And it took a long time

What you know, you've been all through all these influences over the years, from a young person to growing up right now at this point of your career, where do you think you stand closer as a performer? Do you feel like a combination of them or do you like to rely on more on your bluesy side or maybe your rock side?

I think some of that would probably go back to where you're talking about a few seconds ago, which is probably more of the… How do I say this? I don't know... it's even hard to talk because I don't even intentionally. It just kind of happens. And maybe it's just through listening to all those artists, they just kind of make into your musical DNA and then out of that you create your own voice, you do your own thing.

So for me, I'm sure that to some degree all of them are still there. They're still very much informing me, but nothing is intentional at this point. Other than what we talked about keeping it lower or something like that. But as far as like the style, I'm really happy because I feel like I finally found who I am. And it took a long time. If I go back and listen to early stuff like in The Mayfield Four era or even early Alter Bridge, I'm like, "oh, I was clearly listening to so and so". I could hear it. Whereas now I'm like "oh, it's just me. It's just what I do". And I'm appreciative of all of those artists for helping getting me get me to finally find who I am… (laughs)

I always thought you have a distinguished voice from the first Alter Bridge album, 20 years ago that I first heard you singing. I never listened to any of your influences in there. It was always this distinguished. And I mentioned the influences in the best possible way… maybe I wanted to showcase how rounded you are as a vocalist. You're not one-dimensional vocalist. You're not just coming from a rock background. You have all those different aspects. So, I wanted just to ask where you feel more comfortable through all these influences at this stage. That was the point of question. Maybe I didn't express it well…

No, no… that's good. That totally makes sense. I could tell you like as far as what I listen to more now, I will say I probably like I listen to more Ella Fitzgerald than anybody else. I mean, as far as any of the artists that you listed off, that's my go to. She's probably my favorite singer of all time. She just had a gift that it was transcendent. And if you watch any documentaries about her, she just seemed like such a beautiful human being. It's like she didn't know how good she was. And I love that.

Chris Cornell and Jeff Buckley were very important for me in the 90s

Now, I love the fact that on the album you have a song dedicated to Chris Cornell, with "Eternal Lullaby". First of all, it's very nicely express expressed through the lyrics. Then I have to tell you that you and Chris are two of my top three vocalists of all time. So it means a lot of me to see that connection. And I'd like to know if he was an artist that somehow influenced you? And why did you feel the need to express these thoughts and feelings a few years after his passing?

Yeah… I felt the need to express that. The genesis of that song happened not long after he passed away, but it also did touch on him and also Jeff Buckley. Those were two really big influences for me in the 90s. To me, they were part of the inspiration at a stage where I wasn't really sure where to go as a young artist. In 92-93-94 and 95, I was just like "what am I going to do here? How is this going to work?". And I was listening to a lot of Stevie Wonder, Marvin Gaye. But as far as rock guys, when I heard them singing, I was like "ohh, OK, I get that! I really like that!". So, yeah, I wanted to write a song that expressed my gratitude, because as we've just been talking about all these different influences, you come to realize just how profound an impact that can be at helping to guide a young artist. You know, they had the people they listened to growing up as well. And so I just felt it was appropriate to write a song conveying my gratitude.

Yeah, and it's really beautiful. I'm glad you did it.

Thank you!

And now there is another thing I want to ask and link it with your upcoming tour. A couple of weeks ago, I had the chance to interview Devin Townsend and of course, I asked him about touring with you in the UK. His exact words when I mentioned your name, was "What a musician! Holy cow! His voice. He's just so talented. It's crazy." That's what he said about you…

Well, that's what I would say about him… (laughs)

With Devin Townsend it's a friendship that I see continuing to blossom and I'm grateful to have crossed paths with him

Are you familiar with his work? He's so great as well. I love the combination of you too, so much

I'm very familiar with his work! And I will admit it was recent work that really grabbed me. It was the "Lightwork" record that really just blew my mind. I think Devin is... I don't think he knows how talented he is. And that and once again it's kind of like we were talking with Ella Fitzgerald. I find that very endearing, because he truly is brilliant musician, he's so prolific as a creative entity and his voice is amazing. He's a great guitar player. But, it's his ability that he can self-produce that is a gift in itself.

We actually talked the other day, we did a podcast and I could have talked with him all afternoon. I am just fascinated by his level of talent and how humble he is. You know he's just a beautiful human being and so I'm really excited that we get to do some shows together. I think it's a friendship that I see continuing to blossom and I'm grateful to have crossed paths with him.

Saying that he is humble, I remember he told me "that you can't judge a person from the first time you see, but when I met Myles, I immediately liked him"…

(laughs)

So I think that's mutual and it will work well. And then you're touring Europe once again, and it's no surprise by now that Greece is not included in the countries you'll be playing. You've never played here...

I don't get it! It's a total shame. I don't understand why. I need to talk to our agent. Be like, "what is going on?". Because I wanna go there! I've never been able to even visit Greece, even just for vacations. And I hear it's so beautify. I need to apologize, I'm going to reprimand the powers that be!

Have you ever been close to coming here to play? There were rumors that Alter Bridge had booked a show, but then the pandemic hit and shut everything down, so it didn't happen. Do you remember any ramblings that you would come to Greece?

Yeah! I thought there was talk of going there with like Iron Maiden or something like that. There was something that was on the books and then the pandemic happened and it didn't work out.

So, before we close this interview, are you planning to enter the studio with Slash next month as I've read in the news, or is it just Internet rumors?

It won't be next month because the plan is that they're going into the studio. I'm very much involved with the songwriting and all that at this point, it's just a matter of when I'll be able to record my vocals, because I'm going on tour and doing this record, so it'll probably be a little while. But, yeah, they're in the thick of it, knocking out arrangements right now. And I'm getting updates every night, so I'm aware of what I'm going to do vocally, melodically, lyrically and all that. So, yeah, I'm excited about that.

Are you back working with Elvis on this one? Or are you planning to continue with Dave Cobb? Or is it a secret?

Top secret... (laughs) I'll let Slash let the cat out of the bag on that one.

Maybe I'll clone myself

Last question. Rumors number two. They are saying that in spring you're going back to the studio with Alter Bridge, but this time around with a mindset to write in a different way, like all the band together in the studio. Apparently, I'm a guy that searches around for anything regarding Alter Bridge...

Well, that's news to me… (laughs)

Just internet debris then…

Yeah, that's news to me. I know there's been talk of getting in at some point next year. But as far as like how we're going to do it and all that, I think the challenge for me is just going to be - because I'm touring so much - how we'll make it work. We'll figure it out. Maybe I'll clone myself… (laughs)

That could be good for humanity and for us, your fans. We'll have two Myles! I'm all in!

(many laughs) Right! Sweet!

So, Myles, it was a pleasure as always. Hope to see you sooner than later, anywhere around Europe, even better in Greece. But, if you come here, you'll have to take a day off because we have very good food that you won't be able to enjoy during the day of the show I guess. Also, there is so much sightseeing. You'll need your time go to all these places that I'm sure you like.

I would love it! Greek food is some of my favorite, so I'll just show up to eat all day… (laughs)

We'll just make sure it's the next day of the show… (laughs). So, thank you once again for everything Myles…

It's been a pleasure Chris! Thank you brother!