Guitar legend Slash has expressed significant reservations about modern performance venues potentially diluting the authentic rock and roll experience for Guns N’ Roses shows.
Specifically targeting Las Vegas’ Sphere venue, the iconic guitarist characterized the high-tech facility as “not really sort of rock and roll friendly,” suggesting its impressive technological features might overshadow the raw energy that defines genuine rock performances.
Slash’s concerns extend beyond just venue architecture to broader questions about maintaining Guns N’ Roses’ hard rock identity. He revealed that during the band’s formative years, he initially conceived their sound to align with Motörhead’s aggressive style, and even expressed discomfort with performing ballad-type songs like “Sweet Child O’ Mine” in concert.
The guitarist candidly admitted that he viewed such tracks as potentially diluting the band’s intended hard-edged persona, despite their eventual commercial success.
Fellow musicians have apparently reinforced Slash’s skepticism about modern venues. He referenced conversations with Joe Walsh of The Eagles, who reportedly shared similar sentiments about the Sphere’s limitations for authentic rock performances.
According to Slash, these advanced venues tend to transform concerts into primarily visual spectacles rather than music-focused experiences.
Despite these concerns, Slash remains committed to maintaining Guns N’ Roses’ rock credibility amid various challenges. He distinguishes between technical mishaps or internal band tensions and the group’s fundamental musical vibe, emphasizing professionalism and communication during difficult concert moments to preserve their collective rock presence. Recently, he clarified that Axl Rose’s microphone-throwing incident in Argentina was due to technical issues with in-ear monitors rather than personal conflicts.
His focus on authentic performance environments aligns with the longstanding practice of thorough pre-show preparation to ensure the band’s raw energy translates effectively to audiences regardless of venue limitations.
In contrast to today’s digital-first promotion landscape, Slash appears to value organic fan engagement over the algorithm-driven streaming success that dominates modern music marketing.
Interestingly, Slash’s current wariness about visual distractions parallels his early misgivings about “Sweet Child O’ Mine,” which he initially felt contrasted with the band’s intended hard rock direction. He has previously mentioned the difficulty of executing the iconic riff properly, especially when performing under the influence at concerts.
Over time, his perspective evolved to embrace broader rock expressions within their catalog, suggesting a nuanced approach to authenticity.
Nevertheless, his current stance firmly advocates for performance environments where musicianship and organic audience connection take precedence over elaborate visual effects, regardless of technological advancements.
