Slash Feat. Myles Kennedy & the Conspirators @ Zénith, Paris

The evening begins with Altitudes & Attitude, whose surprisingly strong set proves an ideal warm-up for what follows. Yet there is little doubt about why the Zénith is sold out tonight. Slash is in town, accompanied by Myles Kennedy and the Conspirators, the hard-rock outfit he has spent the better part of the last decade building alongside his commitments to Guns N' Roses.

The timing is somewhat curious. After all, Slash has only recently completed another massive leg of the Guns N' Roses reunion tour, a commitment that would leave most musicians eager for a lengthy break. Apparently, rest holds little appeal. Whether motivated by creativity, work ethic or simple addiction to the stage, Slash continues to treat live performance as a necessity rather than an option.

The distinction between this band and Guns N' Roses becomes immediately apparent. Where the latter has evolved into a sprawling classic-rock institution capable of accommodating ballads, epics and stylistic detours, the Conspirators operate with a much narrower focus. This is hard rock in its purest form: loud guitars, big choruses, swagger and groove. No frills. No distractions. Just five musicians delivering riff after riff with unwavering conviction.

The supporting cast is excellent throughout. Bassist Todd Kerns combines a commanding stage presence with strong backing vocals and occasionally threatens to steal scenes from his more famous bandmate. Drummer Brent Fitz provides a powerful, reliable backbone, while guitarist Frank Sidoris performs the unenviable task of sharing a stage with Slash and emerges with considerable credit. Frontman Myles Kennedy remains one of modern rock's most dependable singers, handling the material effortlessly while projecting genuine warmth and enthusiasm.

And then there is Slash himself.

Three decades after his breakthrough, he remains one of rock music's most recognisable figures, but appearances only tell part of the story. What continues to separate him from countless technically gifted guitarists is not speed or dexterity, though he possesses both in abundance. It is his phrasing. Every solo feels composed even when improvised, every melodic choice seemingly inevitable. His playing combines virtuosity and personality in equal measure, and the result is instantly identifiable after only a handful of notes.

One of the most encouraging aspects of the evening is the audience's reaction to the band's original material. Now that Guns N' Roses is active again, there is little need for this project to function as a substitute. Apart from a welcome rendition of "Nightrain," the set focuses almost entirely on the catalogue produced by Slash, Kennedy and the Conspirators. Songs such as "World on Fire," "Back from Cali," "Halo," "We're All Gonna Die," "Starlight" and the epic "Anastasia" are greeted with the enthusiasm usually reserved for long-established classics.

And perhaps that is precisely what they have become. A whole generation of rock fans has grown up with Snakepit, Velvet Revolver and the Conspirators as much as with Guns N' Roses itself. Rather than competing with the reunited mothership, these projects have expanded Slash's legacy, adding new chapters to a career that might otherwise have been defined entirely by a handful of records released before many members of tonight's audience were born.

The old fear that side projects somehow threaten the "real" band feels increasingly outdated. Guns N' Roses and the Conspirators serve different purposes and draw strength from one another. The result is a rare situation in which fans genuinely get the best of both worlds.

For anyone who cares about hard rock, that is difficult to complain about.