Article by Umberto Scaramozzino
Myles Kennedyhim again, always him. Citizen Swing, The Mayfield Four, AlterBridge, Slash and a solo career that proceeds without further hesitation on tracks that, perhaps, not all fans would have preferred, but he has chosen firmly. Back to Milanthis time atAlcatrazand finds a thousand people flocking like old friends who respond with joy to the proposal of a reunion. There is a relaxed atmosphere, enriched by a deep and sincere affection that the tireless singer from Spokane has cultivated in his fans throughout a phenomenal career. A result that cannot be taken for granted and comes as the fruit of many years of hard work, dedication and care for one's art. An achievement richly deserved by one of the best rock singers of his generation.
The third studio album, “The Art of Letting Go”, which does not add much to the discussion carried out in these six years of the project, but improves it, consolidates it and demonstrates great maturity, also in intent. Many Alter Bridge fans would probably have liked to see Myles launched into a more classic singer-songwriter career, with a folk rock close to Jeff Buckley and some tear-jerking ballads, of those which Alter Bridge's discography is also littered with. But no: Myles instead adopts an approach halfway between hard rock and blues, but much heavier, especially on the riffs which in some cases have nothing to envy of the works of his other projects. This third chapter, in fact, is the best work of this new phase of my career and gives us perhaps the brightest image of Myles-artist, which also translates into a Myles-performer in great shape. From the first bars he appears happy, smiling, self-confident and sure of his musical proposal.
The evening is introduced by the title track, magnificently played by the boasting power trio Tim Tournier to the bottom and Aunt Uddin to the battery. Aunt Uddin, that's him: the drummer of the Mayfield Four who has accompanied Mr. Kennedy for three decades and for this very reason deserves a presentation full of enthusiasm: “I think he's one of the best drummers in the world”, says the singer with his heart in his hand. Precisely live, thanks also to the great skill of the musicians, we realize the real reason for the change of approach in the composition of the set list for this tour. Compared to what we have seen in the past, this time the good Myles decides to focus exclusively on solo songs, with some sporadic exceptions which in Milan fortunately are not “The Trooper” by Iron Maiden, but “Lover” by Alter Bridge, in a crazy version which almost splits the evening in half. For the rest it is all material that bears the exclusive signature of Myles Kennedy and the reason is that this repertoire finally stands on its own legs. The promise of a “Myles version” of Alter Bridge and Slash fan favorites is no longer needed, because a new audience has been created. Okay, maybe it's not entirely new, but at least it has taken on its definitive form.
The trio's shot is remarkable (“Mr. Downside” and “In Stride” real highlights of the evening) and the technique put on the table is anything but negligible. It's not just hard rock done well, because that voice isn't just a good voice and that guitar is just not a good guitar. Myles has somehow become an anti-star despite having all the characteristics of the “Guitar Hero” and “Rock God” archetypes. Among very, very talented people – those of whom the music industry is increasingly lacking, at least in the most traditional sense of the word – he is one of those with the highest degree of humility that can be found around. This is also demonstrated by his way of being on stage, always very composed, even a little dizzy in some situations, but totally natural.
From the audience during almost every song a “Let's go, Myles, let's go” from one of the most excited fans of the evening. The sound starts from the back of the hall at the beginning of the concert and slowly reaches closer and closer to the stage, where the recipient can finally hear. The reaction? Myles Kennedy in purity: falling into a naive and very humble misunderstanding, instead of interpreting it as pure Mediterranean enthusiasm, he takes it as an invitation not to procrastinate in pleasantries – simplistic, but always entertaining – and without hesitation abandons the role of entertainer, to try his hand with even more passion in what he does best: singing and playing.
When “Love Can Only Heal” starts, perhaps the only song that takes up and compensates a little for those unexpected expectations mentioned above and which in fact almost ended up among the rejects of the first album, it renews itselfeternal epiphany. “That's why I've been here for almost twenty years” is the phrase that comes crystal clear from the front rows and which sums up the Alcatraz audience well. Music lovers hard & heavy which they found in Myles a granite bulwarka safe haven to return to every time you doubt whether it's really all over. It doesn't matter whether the need is the paradoxically atavistic and infantile one of raising one's horns to the sky, or that of hearing good music performed even better: Myles Kennedy has been here for us for more than twenty years.
Daniel D`Amico for SANREMO.FM
