Myles Kennedy is one of the hardest working vocalists in the rock community today. That goes without saying. From his work with Slash and the Conspirators to his work with Alter Bridge (both of whom released new records in 2022) and his own solo career, Kennedy has had plenty to keep himself busy in recent years. That work continued this year with the release of his third solo album, The Art of Letting Go. Having come this week, almost two-and-a-half years after the release of his sophomore solo record, The Ides of March, the 10-song record offers plenty for audiences to appreciate in regard to its musical and lyrical content, as its current singles – ‘Saving Face,’ ‘ Miss You When You’re Gone,’ ‘Nothing More To Gain’ and ‘Say What You Will’ – have already shown. They are just a snapshot of how much the album has to offer audiences as the album has other notable entries, not the least of which being the early entry, ‘Mr. Downside.’ This song will be discussed shortly. ‘Dead to Rights,’ the album’s penultimate entry, is another example of the depth of the album’s content. It will be discussed a little later. ‘Behind the Veil,’ the album’s midpoint, is yet another example of the role of the album’s overall content and will also be discussed later. Each song plays its own pivotal part to the whole of The Art of Letting Go. When these songs and the album’s already released singles are considered alongside the rest of the album’s entries, the whole makes the album one more welcome addition to this year’s field of new rock albums.
The Art of Letting Go, the latest solo offering from singer Myles Kennedy, is an engaging new offering from the veteran singer and guitarist, who also contributes his talents to Alter Bridge and to Slash and the Conspirators. All four of its featured singles make that clear in their own right. They are just a small example of what this record has to offer audiences. The album offers yet another example of the engagement and enjoyment offered early on in the 46-minute album in the form of ‘Mr. Downside.’ Clocking in at just over four minutes (four minutes, 17 seconds to be exact), the song’s musical arrangement presents an infectious arrangement led by Kennedy on guitar. To a point, there is a certain something to the melody grounded in his performance that actually is easily comparable to various songs he has helped compose as a member of Alter Bridge while also being somewhat comparable to so many of Creed’s radio ready singles. It would be no surprise if it becomes a single in its own right, considering this accessibility.
The musical arrangement makes for an interesting juxtaposition to the song’s lyrical theme, which seems to be a commentary aimed at those people who only see the negative in life. So many songs of this lyrical ilk tend to have a much sharper edge to their musical arrangements. To that end, this counter of music and lyrics makes for its own interest. The inferred commentary comes right from the song’s outset as Kennedy sings, “There is no purpose to forever/No destination that is far enough/There is no meaning when there are only bitter truths/But to be fair/You’re not the one you were before/Not anymore/Don’t tell me that the only way is down/With so much to come/What you can’t see is a choice worth making/A voice worth saving/The lifeline I dare you to take/Take a chance along the way.” In other words, this comes across as a subject saying to another, “look, life is not easy. It’s hard, but you have changed. Don’t tell me there is only negative when there is still positive in life.” To that end, if that interpretation is correct, then it is a powerful reminder that we all need at points in our lives. The seeming statement continues as he sings in the song’s second verse, “You see the devil in the details/Most see the sacred in disguise/Into the chasm/Once again it’s out of sight/Your possibilities are always left to die/So, Mr. Downside/Is this where you want to be/When will you change?” All of this in consideration alongside that questioning at the end as to whether that “Mr. Downside” still wants to be so negative makes for an interesting, accessible discussion on seeing life’s positives in tough times. It is a familiar topic, but even in this case it is still fresh and relatable. So to that end, that contemplation, together with the more (surprisingly) positive vibe of the song’s musical arrangement makes clear overall in itself just how important the album’s overall content is to its whole.
‘Mr. Downside’ is just one of so many notable examples of the strength of this album’s overall content. Another notable example comes late in the album’s run in the form of its penultimate entry, ‘Dead to Rights.’ Where the musical side of ‘Mr. Downside’ was quite radio friendly, this song is much heavier and perhaps more of a deep cut but no less engaging and entertaining. There are some more melodic moments in the song’s choruses but that aside, the heavier verses opposite those moments make it stand as its own composition that audiences will appreciate.
As with ‘Mr. Downside,’ the nature of this song’s arrangement is something of a contrast to the lyrical theme featured in this song. That is because it comes as another commentary delivered by its main subject to a secondary figure. In this case, the indictment of sorts comes from the primary subject telling the second person that he/she knows how fake the second person is. This is inferred as Kennedy sings in the song’s lead verse and chorus, “One more story/One more failed to mention/An allegory with no truth to bear at all/One more sleight of hand/No comprehension/Knowing all the while I cannot let you fall/Still, I turn a blind eye/How much can I take/As you walk the wire/That cannot bear the weight/You’re dead to rights/And now I’m on to you/Still, you deny/But I’m nobody’s fool.” Now, knowing the meaning of “dead to rights,” this is clearly addressing someone who does not tell the full truth of things; a person who is fake. The main subject says he/she is fed up and at that point and is now on to that fake nature. The indictment continues further in the song’s second verse as Kennedy sings, “Is it worth it/Well, that might depend/Self-respect is overrated anyway/Tell me how you do it/Can you sleep at all/Every mountain moved/A tale/A tale that is too tall.” This is the main subject asking that fake person essentially if that person has a conscience because every lie that person tells is just too much. Again, herein is a familiar topic, not just from Kennedy but in music in general. It is another engaging way in which to address said topic that continues to show (alongside the song’s equally interesting musical arrangement) how much the album has to offer audiences.
It certainly is not the last of the notable entries in The Art of Letting Go, either. ‘Behind The Veil,’ the album’s midpoint, is yet another notable addition to the album. The song’s musical arrangement forms its foundation as its opening bars are quite contemplative in nature. Those open bars gradually give way to something that while still contemplative, is also heavier. As with the other songs examined here and the album’s singles, it is another familiar style work even with its own identity. The comparison here is more to other works from Kennedy’s solo career. The bluesy touch that he and his fellow musicians give the heavy, melodic arrangement makes for plenty for listeners to appreciate here.
That arrangement makes for its own interesting companion of sorts to the song’s lyrical theme which (at least to this critic) comes across as being a commentary about appreciating what we have and focusing less on what we desire. This is inferred as Kennedy sings in the song’s lead verse and chorus, “You open up your eyes/To see the life you know/The devil cracks a smile/Reveals the debt you owe/It’s a long, never-ending road/That’s pretending to be your home/As you break where you’re bending/You can’t keep defending this anymore/The silence takes its toll/Hey, hey, hey/Now you know/Behind the veil is dust and bones/Left for dead/Every hope for tomorrow/As the sands of time run low/Now it’s too late/So let it go.” In other words, what is behind the veil is not as great as one might think. That line about the devil revealing what one owes comes across as a statement about a person realizing the truth of the price for what they really wanted and (again) maybe better appreciating what they have because all that glitters is not gold, so to speak. The seeming commentary continues in the song’s second verse as Kennedy continues, “Hey/Why can’t you see/That what you take is never free/All the moments we trade/Leave us hollow/Never worth what we lose in the end/The deal was made and now you’re spent.” There is the most direct of statements in this message. It is a welcome delivery at that and will certainly resonate with audiences, considering. Keeping this in mind, the lyrical message (at least seeming message) offers listeners just as much to appreciate here as the song’s musical arrangement. When the whole therein is considered along with the positive impact of the collective content of the other songs examined here and those songs alongside the album’s singles and the rest of its entries, that whole makes The Art of Letting Go a positive new solo offering from Myles Kennedy.
The Art of Letting Go, the latest solo offering from Myles Kennedy, is a successful new offering from the veteran singer/guitarist who already has plenty of accolades to his name. The album’s success comes through its musical arrangements and lyrical themes, as its singles have already proven. The songs examined here make that even more clear. When all of that material is considered alongside the rest of the album’s entries, the whole therein makes The Art of Letting Go one more of this year’s top new rock albums.
The Art of Letting Go is available now. More information on the album is available along with all of Myles Kennedy’s latest news at:
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