Myles Kennedy and Mark Tremonti have voiced their opposition to using AI as a songwriting tool, with Tremonti publicly backing his Alter Bridge bandmate’s comments about preserving the creative process.
Sharing Alter Bridge’s Facebook post about Kennedy’s remarks, Tremonti said the two were in complete agreement. “For me, writing songs has always been one of the best parts of making music,” he wrote. He pointed to the ideas, effort and process of finding the right song as things he would never want AI to take over.
Kennedy had discussed the subject during the September 10, 2026 edition of SiriusXM’s Trunk Nation With Eddie Trunk. In comments reported by Blabbermouth, he explained that he had spent the preceding 10 weeks writing during some downtime. Working through musical problems and discovering parts that fit remained the reward. Using AI to reach a finished song more quickly would remove something he valued about the work.
Asked whether songwriting mattered more to him than performing or recording, Kennedy said it was his clear favorite. He described an obsessive process in which ideas could interrupt his sleep, while finding material he considered good could take months. He acknowledged that other musicians might find AI useful, but said he would not adopt it himself.
Tremonti’s response also follows concerns he raised in a January 13, 2026 interview with Jack Rogers of Rock Sound. He worried that widespread AI use could discourage musicians if listeners stopped believing their work was authentic, and called for a way to identify its use in art.
That conversation also offered a practical account of the writing relationship both musicians want to preserve. Discussing their album Alter Bridge, Tremonti explained that they develop individual songs before deciding what the record will become. Kennedy said ideas conceived during other projects sometimes get set aside specifically for Alter Bridge.
Their familiarity has also blurred the distinctions between their contributions. Tremonti said even their producer could be surprised by which guitarist had written a particular part.
The album’s closing track, “Slave to Master,” grew through that exchange. Tremonti recalled Kennedy’s original demo running about four and a half minutes and ending with an unresolved question about where it should go next. They began working through more riffs, expanding it into the roughly nine minute track that closes the record.
