SLASH REVEALS HOW FLYING BLIND WAS RECORDED — THE SURPRISING CREATIVE PROCESS BEHIND HIS NEXT ALBUM!

Slash has finally pulled back the curtain on the making of Flying Blind, his upcoming fifth studio album with Myles Kennedy & The Conspirators, and the story behind the record may surprise fans. With the musicians spread across demanding schedules and other major projects, bringing everyone together was no simple task. Yet the group found a way to turn limited studio time into a full-length album without losing the chemistry that has defined their sound.

In a conversation with radio host LA Lloyd, the Guns N’ Roses guitarist explained that the band had to plan carefully before they could begin working in earnest. Slash remains heavily involved with Guns N’ Roses, while vocalist Myles Kennedy also has commitments with Alter Bridge. The other members are busy, too: bassist Todd Kerns, drummer Brent Fitz and guitarist Frank Sidoris all have separate musical responsibilities.

Rather than allowing those schedules to keep the group apart, the musicians identified specific windows when everybody could be in the same place and concentrate on the project. Those periods became the foundation of Flying Blind. Slash said much of the material was developed during these sessions, with the band creating music together in the room instead of relying on a process built around sending finished recordings back and forth.

That detail matters. For a band whose appeal depends so much on the interaction between its players, writing together can make the difference between a collection of individual performances and an album that feels like a real group effort. The Conspirators were able to respond to one another in real time, test ideas, change arrangements and follow musical instincts as they emerged. Their limited time together made preparation important, but it did not replace the spontaneous energy that comes from playing face to face.

Once the songs had taken shape, the musicians travelled to producer Michael “Elvis” Baskette’s studio in Florida to record the instrumental tracks. Vocals and additional overdubs were completed during later sessions, allowing Kennedy and the others to finish their parts around their remaining commitments. It was a practical approach, but Slash’s account suggests that the goal was never simply to get the work done as quickly as possible. The band wanted to protect the feeling of playing together while making the most of the time available.

Slash revealed that he also had to coordinate with Guns N’ Roses to secure enough room in his 2027 calendar for a tour with the Conspirators. That meant looking beyond the recording sessions and making sure the new album could be supported on the road. With two musical commitments competing for time, planning ahead was essential.

Slash was also clear about the way he approaches the band’s sound. He does not sit down with the intention of reinventing the group every time they make a record. Instead, he believes the music changes naturally as the musicians develop, experiment and continue learning from one another. That philosophy helps explain why the Conspirators can retain a recognizable identity without making every album sound exactly like the last one.

Rather than chasing a trend or forcing a dramatic change, the band allows its collective personality to guide the music. Each member brings new experiences and ideas into the room, and those influences gradually shape the songs. The result, in Slash’s view, is an organic evolution: the sound moves forward because the people making it keep moving forward.

The title track, “Flying Blind,” provides a particularly interesting example of that process. Slash explained that the song began as a spontaneous jam with Kerns and Fitz. It was not necessarily conceived as the statement piece for an entire album. The initial idea took shape through the musicians playing together, and Kennedy later added the lyrics, giving the track another dimension.

As the song developed, Slash came to feel that its title captured something larger than the track itself. “Flying Blind” seemed to reflect the band’s creative approach: trusting instinct, following an idea before knowing exactly where it will lead, and discovering the destination through collaboration. That sense of exploration became a fitting name for the record.

The album’s production was designed to preserve that same spirit. Slash said the 12-track collection was approached with the energy of a live performance in mind, rather than being buried under layers of studio polishing. The intention was to keep the playing immediate and allow the musicians’ chemistry to come through. For listeners who value the raw excitement of a band performing together, that approach could become one of the album’s biggest attractions.

Flying Blind is scheduled to arrive on February 26, 2027, through Gibson Records. A world tour is set to follow, giving fans the opportunity to hear the new material performed live. The release will mark another chapter in Slash’s partnership with Kennedy, Kerns, Fitz and Sidoris, a collaboration that has continued to grow despite the demanding schedules surrounding its members.

For Slash, the answer was not to force a new identity or spend endless hours polishing every detail. It was to bring the right musicians into the same room, give them space to experiment and trust the chemistry that already existed. Now, with the release date approaching and a tour planned, fans can begin counting down to the next chapter.

Will Flying Blind become one of Slash and the Conspirators’ most exciting albums yet?