Slash & Myles Kennedy Conquer Newcastle - Review

I've said it before, but Kennedy consistently proves himself to be one of the greatest rock singers currently working - towering over the crowd at the front of the stage, peacocking during the grander songs, and shrinking back when the lyrics require a certain tenderness and vulnerability the same way Steve Tyler seems to slip between bodies with different tones. In Kennedy, Slash has found the kind of front-man who can match his own abilities, and who will share the stage with Slash toe-to-toe without shrinking at the idea of being cast second-fiddle in what is still marketed as a solo project. Even when asked to sing someone else's songs, Kennedy copes admirably, making them his own, and adding his own touches - though he does appear a lot more comfortable singing the new material, or those songs from Slash & Friends penned for him. Together they own the stage, backed admirably by the energetic Conspirators, who bring their own confidence and ability - and really it isn't hard to see why Slash has so willingly turned what started as a side-project into something far more substantial. But just when you begin to think that Slash is willing to sit back as part of a band, he throws in a blistering solo that defines the song (particularly in the composition of new songs, which seem to lead rather charitable - but not surprisingly - to his solo), or takes control of the stage entirely for a more than five minute solo that some would call self-indulgent, but others would suggest as their reason for coming out. Particular highlights of the night included Todd Kerns' version of 'Doctor Alibi,' stepping into Kennedy's shows for a surprisingly welcome change of pace, the always exceptional 'Starlight,' and the rousing run to the finale of 'You€™re A Lie', 'Sweet Child Of Mine' and 'Slither. ' Slash still stalks his side of the stage with supreme confidence, playing his instrument as an extension of himself, and playing up to the crowd on occasion, but it is his technical prowess, combined with Kennedy's stage presence, and the backing work of the Conspirators that continues to make this solo project so important. Unfortunately, the acoustics in the Academy remain fairly poor - which was particularly noticeable during Tremonti's set - so it's impossible to give the gig a flawless score. But you can't fault the performances of the bands, even if Kennedy and Slash don't seem quite as happy together on stage as they did back at Download. Were you there? Share your thoughts below.