•
Rating: The last solo performance of Myles Kennedy in the city of the Sforzas dates back six years ago at the historic Teatro dal Verme. In a prestigious venue born for opera and perfectly suited to welcome the powerful and emotional octaves of the Alter Bridge leader, there was a concert with excellent acoustics and, needless to say, truly exciting. The singer and guitarist of the Orlando band, who also collaborates with Slash in his solo project, has never hidden his love for Italy, where he has also cultivated various friendships over time.
This time, Kennedy is welcomed by the Alcatraz, the historic Milanese temple of rock. Accompanying him are Tim Tournier on bass and Zia Uddin on drums, two stage veterans, chosen for this tour with good reason. Opening for them was the Swedish Black River Delta, who entertained the audience in just over half an hour with an interesting blues rock reminiscent of the Black Keys.
At precisely 21:05, the trio quietly takes the stage, igniting the audience's enthusiasm. There's an ovation as soon as the first notes are strummed. The show kicks off with two tracks from the latest studio work, "The Art Of Letting Go" (see my review). First the title track, then "Nothing More To Gain", deliver the punch everyone expected and make it clear that the evening's acoustics will be excellent. While the performance at Teatro dal Verme during the "Year Of The Tiger Tour" was mostly acoustic, at Alcatraz we find a heavier sound with distorted guitars, thanks to the addition of two new works since then.
The audience engages a lot and even amuses Kennedy before the third song. It makes him laugh so much that he can't get serious enough to continue. Some lingering laughter even affects the first verse, making it all hilarious. But there’s always a twist; "Devil On The Wall" bursts next, with its southern rock imprint, making us feel like we're in the heart of some small American county lost among the prairies. A guitar change (of which there were many and very quick) for the lively "Mr. Downside", then another for "Tell It Like It Is", this time from "The Ides of March", which catapults us onto the creaky wooden plank floor of some saloon. Smartphones are whipped out sporadically because everyone is eager to enjoy the performance, featuring Uddin’s frantic rolls and interactions between Tournier's bass and whatever guitar Kennedy wields, who realizes he has us in his hand.
After a brief and necessary break, atmospheric lights introduce the piece openly declared as the most beloved by its creator: "Behind The Veil". Just over thirty days have passed since its release, but the keenest followers know to expect a long live solo. Myles wrote this song so his six strings could let loose onstage at will. And so it was. The guitar strings bend under the thrust of the pick, sliding beneath Kennedy’s fingers. Eyes closed, lips arching and tightening. Myles seems possessed by a strange demon, who occasionally even makes him smile and nod when he understands that what he wants to convey is reaching its destination before appropriately exploding. I look around, seeing that we are all still and no one is missing a note. This is the most intense, intimate, and profound moment of the entire performance and it shows us how powerful the live dimension can be, especially if strongly wanted by its creators.
The frontman talks a bit with us, thanks us and, without wanting to dwell too long, he tells us that every setlist includes two ever-changing acoustic pieces. Then he kicks off with the unplugged version of "All Ends Well" by Alter Bridge, striking our hearts and bringing us to ultimate commotion, shared by him, with "Love Can Only Heal", dedicated to his father and taken from the concept album devoted to him. The whole venue sings the chorus and everyone feels the same energy.
Hands dry their eyes, finish clapping, and we start to go wild again. "Miss You When You're Gone" contrasts with the more classic "Year Of The Tiger", giving us the feeling of farewell.
"In Stride" is sold to us as the last song, before the usual fake goodbyes are performed, with the trio disappearing momentarily backstage. The encore we demand is not long in coming, and we enjoy the very gritty "Say What You Will" to the last note, filled with satisfaction for what we have experienced.
The lights come on, I look around, there are so many of us. I see a couple of loosened ties on rolled-up sleeve shirts that can’t hide their armpits’ struggle. An entire family with teenage children, an elderly couple, a large group of friends. Myles is a few meters away from us, and if he could, he would stage dive to hug us all, I can see it in his eyes. A child with large protective headphones, who followed a good part of the concert on his father's shoulders, receives a throw from Zia Uddin of one of the drumsticks that have fervently pounded his drums. Outside the Alcatraz, the satisfaction of everyone is palpable, as the venue empties and everyone makes their way home.
Every now and then, one wonders how Myles Kennedy, after thirty years and so many successes behind him, manages to carry forward three projects with such intensity and quality.
Milan can’t wait to see him on stage again, next time certainly accompanied by Mark Tremonti (who will also be in Milan at the end of January with his project) and by Alter Bridge, or Slash & The Conspirators.
The important thing is to see him soon again. Because it is always an immense pleasure.
Loading comments slowly
