When it comes to “cover” bands (your average bar bands that simply play various songs by any given number of artists), I’ve always been vocal about my feelings towards them (which is usually not of the highest esteem). But tribute bands on the other hand, i.e. groups that go the extra mile to represent one band only as authentically as possible, I’ll usually make an exception or two for (even though in most cases I’ve typically already seen the original band/acts in the first place, such was the case with this past Saturday night’s showcase).
When I first set up coverage for the Shock Rock Showdown with Motley Crue and Alice Cooper tribute acts The Dirtt and Billion Dollar Babies, respectively (plus an appearance/autograph signing from legendary rock photographer Mark Weiss) at the Mount Dora Music Hall in Mount Dora, FL (the same venue Rewind It also covered last year’s KK’s Priest/L.A. Guns/Burning Witches show at), I didn’t know I’d once again be going to a show in ill health, having just had yet another PICC line installed/starting IV meds again the day before for the bone infection I’ve been fighting for far too long now.
But I hate not following through on my word, and the show had two things going for it that made the decision to still go all that much easier; not only was it at a seated venue (pretty much a dealbreaker right now), aside from it’s eight o’clock showing, it also had an earlier, matinee show that began at five, meaning I could be out of there early enough to wake up on time for my treatments the following morning (sold!)
But enough about my ‘woes,’ – “on with the show” (a little early Crue reference for those who remember) as they say. We arrived just in time to hear The Dirtt’s spot-on versions of “Wild Side” and “Take Me to the Top” before they slowed it down for the timeless power ballad “Home Sweet Home.” “Louder Than Hell” (also from the same 1985 album, Theatre of Pain) followed, and was definitely welcomed (certainly not one I’ve ever heard the actual Crue retrieve from the vault any of the many times I’ve seen them before).
The Dirtt giving the crowd their best Crue on Saturday night in Mount Dora, FL (Photo by Brooke Striewski).
More familiar numbers in the form of “Girls, Girls, Girls” and “Kickstart My Heart” followed before the mood shifted with “Shout at the Devil” (complete with album intro “In the Beginning” beforehand), followed by “Looks That Kill,” which saw the band ceasing activity just after the first chorus due to “technical difficulties.” After regrouping the band then paid tribute to the late Ozzy Osbourne with their rendition of 1983’s “Bark at the Moon” before finally going out on top with the classic “Live Wire.”
In between acts we caught up with said Photographer Mark Weiss, who had a table set up and was signing copies of his book The Decade That Rocked, as well as his new magazine, Rocked. With Brooke and I each being heavily involved in the world of rock journalism (both print and photo) since roughly 2009 and 2013, respectively, it almost goes without saying we’ve both been fans of his for some time now (but being more of a photographer, I knew it meant much more to Brooke than it did myself).
Rewind It’s Brooke Striewski (center) and Jesse Striewski with legendary rock photographer Mark Weiss at the Shock Rock Showdown on 9-20-25 (selfie taken by Mr Weiss).
And Weiss could not have been more gracious of a host as he signed our copy of his book, making the experience all that much more worthwhile.
Billion Dollar Babies were up next, and instantly brought their best version of Alice Cooper with them. Opening with “Black Widow,” which unfortunately the band also found themselves dealing with some of their own “technical difficulties” for. But the issues were quickly resolved by the time the band moved on to such classics as “No More Mr. Nice Guy,” “Under My Wheels,” “Feed My Frankenstein,” and of course, “Billion Dollar Babies.”
More early tracks in the form of “Long Way to Go,” “Muscle of Love,” “Is It My Body,” “Dead Babies,” “Ballad of Dwight Fry” (complete with the singer sporting the straight jacket, naturally) and “Desperado” all followed before “Go to Hell,” “I Love the Dead,” “I’m Eighteen,” and “School’s Out” finally closed out the epic set on a high note.
Shock rockers Billion Dollar Babies paying tribute to Alice Cooper in Mount Dora, FL this past Saturday night, 9-20-25 (Photo by Brooke Striewski).
As alluded to before, I’ve been lucky enough to catch both the real Alice Cooper and Motley Crue bands live over the years (if memory serves right, four times each/eight times total), so by all means I could’ve easily skipped this show and been just fine in theory. But each band played their hearts out last Saturday, and even though I would’ve loved to have heard a tad more diverse of a set (some ’80s-era Cooper thrown in there actually would’ve been extremely welcomed), the night was no doubt a blast, and I’m glad we still have bands like these keeping the music alive.
Throughout his nearly 40-year career, Trent Reznor has produced an enormous catalog of music. After 15 albums (including EPs) and numerous tours since 1988, Nine Inch Nails launched their ongoing “Peel It Back Tour” across Europe, the U.S., and Canada. I was fortunate to catch them at the Benchmark International Arena (formerly the Amalie Arena) in Tampa, FL.
The arena show spotlighted a lengthy list of iconic songs from nearly every album, a real treat for fans. This was my second Nine Inch Nails concert after catching them in Orlando for their “Twenty Thirteen Tour” in, you guessed it, 2013. It was an impressive show that the recent tour has only improved upon. I can’t recall a moment when I wasn’t captivated throughout their 2.5-hour performance (which felt like an hour at most).
The “Peel It Back Tour” includes Trent Reznor and frequent collaborator Atticus Ross, with a lineup featuring Robin Finck (guitar), Alessandro Cortini (bass), and Josh Freese (drums). The arena was structured with two performance spaces, a main stage for the band, and a smaller “B-stage” in the middle of the packed floor.
Opening DJ act Boys Noize kept things lively for the most part, playing over an hour’s worth of electronic music as the stadium crowd expanded, eagerly awaiting the main event. We waited as the lights dimmed and a single spotlight illuminated the B-stage, revealing Reznor before a grand piano. An eclectic set list began with the subdued “Right Where it Belongs” and then charged into a memorable evening of sound and fury.
After the opener, the band took center stage, switching gears with pulse-pounding “Wish” from their ’92 Broken EP, “March of the Pigs,” (an obvious crowd please-er), and epic rock ballad, “Reptile.”
Reznor frequently switched between the two stages to deliver some of the band’s well-known rock songs on the main stage and quieter, piano-based melodies on the small stage. It was effective in not only highlighting the versatility of the music but also keeping things fresh and engaging.
Nine Inch Nails seated at the piano in Tampa, FL on 9-10-25 (Photo by Shawn McKee).
The main stage radiated an electric light show of moody colors, visuals of rain, moving silhouettes, and video projection against the translucent curtain, which was frequently lowered throughout. Certain songs seemed to bathe the stage in deep reds or shadowy greens as the band pounded through one fan favorite after another.
The show captured the full force of their extensive work, resonating with a generation of fans now grown from their high school days. The set list unfolded in a mostly chronological order, featuring recent tracks like “Find My Way,” “Copy of A,” and “Vessel” before surging into a rapid-fire run of fan favorites, including “Piggy,” “Closer,” “Come Back Haunted,” “Mr. Self Destruct,” and “The Perfect Drug.”
They also performed the electro-synth rock “As Alive as You Need Me to Be” from the upcoming Tron: Ares soundtrack—their first film score to include the band’s moniker and not credited solely to Trent Reznor and Atticus Ross.
The artistry was at its peak during a finale that felt like a time capsule of electrifying closing numbers. Strobes and flares lit the stage through the searing intensity of “Burn” from the NaturalBorn Killers soundtrack.
The propulsive “The Hand That Feeds” throbbed with machine-like riffs before giving way to the inevitable “Head Like a Hole.” And then the band closed with a hauntingly beautiful rendition of “Hurt,” delivered in all its dark, melancholy glory.
I’ve long outgrown the morose teenage angst so emblematic of the ’90s (thankfully), but the music has never left me. Seeing Nine Inch Nails again was a memorable experience—a powerful tribute to their storied legacy and to the generations of fans, both young and old, who still carry it with them.
There may be more albums and tours ahead, but for now I’m satisfied with the enduring gift of rock and roll in all its forms.
Nearly a decade ago now, I was able to catch Jack Russell’s Great White in Daytona (with fellow ’80s acts FireHouse and Bobby Blotzer’s Ratt) back in late 2016. It was an exceptionally fun October night that I now hold even more dearly in my memories since Russell’s passing last year.
So when I heard that the current lineup of Great White would be heading to the Hard Rock Live Orlando (with direct support from Slaughter), I knew I had to finally catch the original version of the band live after all these years (you may also recall my recent interview with founding guitarist Mark Kendall last month where we also spoke about the show).
I’m happy to report that this latest incarnation of the band – which has seen its share of frontmen come and go since Russell’s tenure and leading up to current lead singer Brett Carlisle – are indeed doing the band’s legacy justice (despite being a tad on the “safe” side while live now).
After indulging (just a tad) at the next door Hard Rock Cafe with the family/usual suspects (the wife Brooke and son Jacob, each photographers), we were in the venue with ample time to catch openers Slaughter, who were surprisingly one of the few bands still left from their era that I had yet to see live.
The band came out with guns a-blazin’, opening with the fiery “Mad About You,” and it was instantly clear it was worth the wait all these years for Slaughter. Two more tracks from the band’s 1990 debut album followed in the form of “Burnin’ Bridges” and “Spend My Life” before “Unknown Destination” took things in another direction.
Slaughter bassist Dana Strum (left) and vocalist Mark Slaughter gave it everything they had this past Saturday night at the Hard Rock Live in Orlando. (Photo by Brooke Striewski)
“Eye to Eye,” “Days Gone By,” and “Real Love” all followed before the lighters (or more accurately these days, cell phones) came out for the timeless power ballad “Fly to the Angels.” This of course paved way for their epic anthem “Up All Night,” which had the crowd pumping their fists to the very last note. But the guys still had a little life left in them, and jammed out to a section of The Who’s “Won’t Get Fooled Again” before they fully wrapped things up
And finally, Great White hit the stage just after 9:30pm. Opening with the modest “Desert Moon” (honestly not one of my favorites from them) before things getting kicked up a notch via “Lady Red Light” and “Stick It” (The latter of which much more up my alley and one of my personal favorites. Also to note, I heard a much older fan beside me shout “You were just a baby!” during its introduction, and I’m still not sure if she was referring to me, or possibly Carlisle on stage).
Things slowed down yet again for the more blues-ly numbers “Rollin’ Stoned” and “House of Broken Love,” as well as the first power ballad of their set, “The Angel Song.” “Mista Bone,” “Gonna Getcha,” and “Big Goodbye” each kept the momentum going.
Great White frontman Brett Carlisle (left) in the moment with guitarist/co-founder Mark Kendall at the Hard Rock Live in Orlando, FL this past Saturday, 8-23-25. (Photo by Brooke Striewski)
Before we knew it, the night was already winding down as the band launched into one of their most well-known tender tracks, “Save Your Love.” And at last, one of the greatest ’80s hard rock/glam/hair metal anthems of all time, “Rock Me,” followed before the band called it a day with their signature Ian Hunter cover, “Once Bitten, Twice Shy.”
Leading up to the show, I saw some negative online comments, criticizing the band for still going without “most” of their original members. Not only is it impossible to do when at least two of your said original members have since passed away, but as I explained to my son, whatever the current version of the band may be, these groups are still keeping the music itself alive as best as they can, and I’ll still take what I can get over nothing at all (just look at the recent major loss to the music world with Ozzy Osbourne, for example), and I’ve got nothing bad to say about the current versions of neither Great White, nor Slaughter.
Back in late 2018, Rewind It Magazine were commissioned to cover a Pretty Boy Floyd show in Daytona Beach, FL (with Nova Rex on the same bill). Unfortunately by the time we had made it, PBF were already on their last song of the night, and we had effectively missed the majority of their set, although some mingling with members of the band still did ensue afterwards (there’s still several photos from this night out there on all of our socials).
Nearly seven full years later, Pretty Boy Floyd were making their way back to our neck of the woods again (thanks in part to those at Lazer Focused Talent Agency for inviting them to come to town), and I knew we had to finally be there to get the full effect of their set this time around. And after some back-and-forth online conversing with frontman Steve Summers, plans were in place once again for Rewind It to review their show in Sanford, FL on Friday, August 15.
The moment my always-reliable wife/photographer Brooke and I arrived to the venue, I had reservations whether or not I would be able to actually make it to the end of the night (those of you die-hard Rewind It readers out there may actually recall I had recent surgery to my left ankle that I’m still recovering from). Thankfully, a member from the crew that night recognized my dilemma and graciously located a chair for me to use for the evening (thanks again, Mark).
Local act Magi were the first to take stage, and I was instantly intrigued by their throwback ’70s look (including an open-chested shirt adorned by their frontman a la Robert Plant) and sound. Songs like “Sun and Moon” and a cover of Cream’s “White Room” were all spot-on, and you could tell the chemistry of this group came together organically.
Sunset Rebellion were up next, and definitely matched the energy (though not necessarily the sound) of the previous group. The band fused more modern rock genres like alternative metal and post-grunge, and their lead singer was all over the stage for tracks like “Godzilla” (Blue Oyster Cult cover) and “Rebellion.”
And at last, ’80s rockers Pretty Boy Floyd hit the stage just after ten o’clock, and it was clear that everyone in that room was in for nothing but a good time from then on. Opening with “Your Mama Won’t Know” from their 1989 debut album was the perfect segue to tracks like “Toast of the Town” (their first Motley Crue cover of the night) and the anthem “Leather Boys with Electric Toyz.”
“Wild Angels,” “Live Wire” (another Crue classic) and “48 Hours” all followed, and were equally entertaining as the banter in between songs from frontman Summers (which was downright hilarious on more than one occasion). Somewhat newer number “Good Girl Gone Bad” followed before “Rock and Roll Outlaws,” “The Last Kiss,” and “Saturday Nite” kept the party going.
“Public Enemy #1” (the third and final Motley Crue cover of the night) followed before things slowed down a bit for the classic power ballad “I Wanna Be With You.” “Love Sick” was squeezed in before the band ended the night on a high note with their answer to KISS, “Rock and Roll (Is Gonna Set the Night on Fire)” brought the house down.
No sooner than the band exited stage were all four members – Summers, bassist DieTrich Thrall (also of Lords of Acid), and newcomers Matt Muckle (drums, also of German hard rock act Kingdom Come) and guitar shredder Jake Curtis Allard (the mind behind Midnight Maniac) all stuck around to hang with their fans/newfound friends (yours truly included) and pose for pics/sign any and all merch for them.
Pretty Boy Floyd frontman Steve Summers (left) with the author Jesse Striewski after Friday’s show at the West End Trading Co. in Sanford, FL on 8-15-25 (Photo by Brooke Striewski).
Often times it’s easy to find plenty of naysayers – usually just know-it-all online keyboard warriors who have never really done anything of much significance themselves – who like to put down or write-off bands like Pretty Boy Floyd. But these guys are still out there keeping the flame alive and giving every ounce of energy they’ve got, night in and night out (tonight they’ll also be playing Piper’s Pub in Pompano Beach before they eventually venture over to Texas).
Their shows are still full of plenty of vigor and enthusiasm (and as fun as can be), and with so many of the old guard now either retiring or worse, I’m glad to still have bands like Pretty Boy Floyd (as well as Great White and Slaughter, who Rewind It will also be covering next weekend in Orlando) around to provide a great night out like they did this past Friday. The moment I hear the band are coming to town again, I’ll likely be the first in line for it.
Since 2021, Rewind It Magazine have made it to Welcome to Rockville four out of five recent years since the massive annual music festival moved to Daytona Beach from Jacksonville, FL. But unlike previous years, there was an impossible-to-ignore black cloud looming over the proceedings this year, as less than three short months prior I had found myself recovering from surgery in the hospital after a nasty bout of Oyesteomylitis (a potentially deadly bone infection, and in my case chronic) had rippled its way through my ankle once more after decades of remission.
There was much doubt then, and even more doubt the day of when the moment had finally arrived (my wife and Rewind It photographer/partner-in-crime Brooke had actually won tickets to the event from local radio station WMMO as far back as December). But I was determined, and did not want to let my still-teenaged son Jacob (who is perpetually playing catch up with his old man when it comes to seeing bands) down.
Thursday, May 15 (Day 1):
We strolled in (in my case literally – I was on a rolling walker for this one) to the Daytona International Speedway that first day on Thursday, May 15, with a feeling of triumph, having finally made it across the finish line (normally by this time of year we’ve fit in a handful of shows by now). But after all that uncertainty leading up, there lied the first band of 2025 either us had seen on stage right before our eyes – Blue October (okay so we might have actually caught a glimpse of The Acacia Strain along the way too, but still).
Now, I can’t tell you I’ve ever been much of a Blue October fan over the years at all. But in that moment, hearing tracks like “Hate Me” and “I Hope You’re Happy” live meant the world to me just then, though it was about to get much better very quickly.
Reunited 2000’s act Crossfade were up next after being introduced by I believe a Sirius XM radio host whose name escapes me (?), and even a NASCAR driver (and if memory serves me correctly, that would be Daniel Sauerz). For this one we stayed for the entire set, which included “Starless,” “So Far Away,” “Lay Me Down,” “Dead Memories,” “The Deep End,” “Colors,” “Already Gone,” “Death Trend Setta,” and their 2004 hit, “Cold.”
Crossfade performing on the first day of Welcome to Rockville in Daytona Beach, FL on 5/15/25 (Photo by Jesse Striewski).
Next up were ’80s thrash masters Exodus, who we nearly missed by the time we made the trek over to the Inferno stage to see them. Although I caught the band once before back in 2014, I was curious to see the return of former vocalist Rob Dukes this time around, even if it was only for a handful of songs (“Toxic Waltz” and “Strike of the Beast”), one of which also included Municipal Waste front man Tony Foresta.
A few minutes worth of Theory of a Deadman’s set in the interim reminded me of just how boring they really are live (I had actually seen them along time ago too at another festival around 2012-ish, and was not impressed then, either), though Orlando natives Trivium (whose original singer/bassist Brad Lewter I had actually gone to elementary school with in Weikva) helped kick things up a notch.
“The End of Everything,” “Rain,” “Pull Harder on the Strings of Your Martyr,” and “Like Light to the Flies” were all fun enough to hear again and/or for the first time (it’s been since 2008 since I last saw them), but in order to catch GWAR for the first time in nearly two decades (seen them several times between 1999-2006) and with Michael Bishop now in place of the late Dave Brockie (R.I.P.) for the first time was too intriguing as well.
Hearing songs like “Slap U Around,” “Gor-Gor,” and “Sick of You” live again may have brought back some nostalgic memories no doubt, but the overall juvenile appreciation has long since past since those Beavis and Butt-Head days so long ago, and I think I’ll leave my memories of the band in the past where they ultimately belong for me.
The Pretty Reckless came into late in the game, replacing 3 Doors Down on the bill after frontman Brad Arnold’s recent cancer diagnosis (wishing him all of the best). I’ve checked out the band before, and other than the singer Taylor Momsen’s previous acting credits (which included 2000’s How the Grinch Stole Christmas alongside Jim Carey), I really hadn’t found much interest in them. Live was a different story though, as Momsen swayed her way through tracks like “Witches Burn,” “Makes Me Wanna Die,” “Going to Hell,” “Heaven Knows,” and “Take Me Down.”
From then on, it was all about the ladies for some time after, with Lzzy Hale (fresh off a brief stint fronting Skid Row) and Halestorm belting out some of their well-known numbers like “Familiar Taste of Poison” and “Freak Like Me,” before we were able to catch Arch Enemy completely annihilating another stage nearby (and with front woman Alissa White-Gluz looking damn good in the process).
I could hear Three Days Grace from a distance and even seen them on some of the giant screens throughout while we waited for Asking Alexandria to play on another stage. Having already seen Asking Alexandria open for All That Remains way back in 2010, I was expecting more of the same insanity, though some of that seemed to be replaced now by a more mainstream direction rather than metalcore (could have something to do with the absence of original guitarist Ben Bruce). All in all songs like “Alone in a Room” and “The Final Episode (Let’s Change the Channel)” still held up live.
Rapper/Actor Ice-T and Body Count have at the very least held a vague interest for me ever since appearing on the Judgement Night soundtrack alongside Slayer with the punk/thrash inspired “Disorder” all the way back in 1993. While the band did rip through the aforementioned track with style (as well as a cover of Slayer’s “Raining Blood,” among other things), I found myself losing interest quickly after being preached to (one of the biggest turn-offs for me from musicians these days).
And finally, if you’ve seen Rob Zombie once, you’ve seen him enough. I can’t even remember exactly how many times its been, but I do know not much has changed since that first time I saw him back in 2006. He’ll usually open with something like “Demon Speeding” (which he did), throw in some hits like “Feel So Numb” and “More Human Than Human” (which he also did), and end it with the one-two punch of “Thunder Kiss ’65” and “Dragula” (yep, again). The only noticeable difference this time was the inclusion of “Creature of the Wheel” from 1995’s Astro-Creep: 2000 album, though I could think of at least half a dozen better songs from that album (either “Electric Head” track or “Blur the Technicolor” would’ve done nicely instead).
By the time Zombie was done, so were we, despite that evening’s headliner Shinedown still yet to perform (how they landed the “headliner” spot to begin with, I’ll never understand), though we could clearly hear them starting on our way out of the venue.
Friday, May 16 (Day 2):
By the time we got to day number two, we getting into more of a routine (mainly finding spots to stay out of the heat/sun), though were able to arrive just a tad earlier than the day prior (and run into long time friend of the fam and latest Rewind It contributor, Josh Kelly).
It was no doubt all about the ’90s this day, with the first band we caught of the day being Lit. Before their set, a video montage reminding fans of their MTV Spring Break played over the screens before the band started with “Kicked Off the Plane.” Admittedly I did not know much of their songs until they reached the pseudo-ballad “Miserable,” and by then it was time to catch fellow ’90s act Everclear.
Everclear are one of those bands I’ve always held a small interest for since their heyday, a large part perhaps having to do with being on the soundtracks to such films I loved like Detroit Rock City (1999) and Rock Star (2001). They wasted no time with their set, instantly giving fans exactly what they came for with the anthemtic “So Much For the Afterglow” before tearing through “Everything to Everyone,” “Heroin Girl,” “Father of Mine,” “I Will Buy You a New Life,” “Wonderful,” and finally, the 1995 classic, “Santa Monica.”
Another reunited early 2000’s metalcore act, It Dies Today, who I had once caught what now feels like a lifetime ago at the 2007 Vans Warped Tour, were the next on the agenda. Hearing the likes of “Severed Ties Yield Severed Heads,” “Sacred Heart (Sacre Couer),” and “A Threnody of Modern Romance” was a welcomed blast from the past for sure.
And speaking of blasts from the past, Bowling For Soup were one of the earliest groups I can remember my kid ever liking, having performed the theme song to the animated show Phineasand Ferb (which I probably heard more times than I’d like to admit thanks to it). While I’m almost positive I could hear the band playing said theme in the distance prior to arriving, I can confirm “Punk Rock 101,” “Girl All the Bad Guys Want,” and “1985” were all performed towards the end of their set.
Post-grunge rockers Candlebox took it back to the ’90s, with songs like “Don’t You,” “Change,” “Elegante,” “Arrow,” and “Cover Me”bringing yet more memories from those teen years.
Having just seen Bush somewhat recently in late 2023, I wasn’t too worried about catching them again, and by then it was time for some much-needed rest out of the sun. I was still close enough to the stage to hear such classics and newer tracks alike, such as “Everything Zen,” “Machinehead,” “Flowers on a Grave,” “The Chemicals Between Us,” “60 Ways to Forget People,” “Swallowed,” “More Than Machines,” “Glycerine,” and “Comedown.”
When it came time for Sublime, there was a vague interest there, even though I never really got too hooked on the band’s music, even at their peak. But I was surprised to see what a show man the late Bradley Nowell’s son Jakob was in his place, as the band made their way through “April 29, 1992 (Miami),” “The Ballad of Johnny Butt,” “Wrong Way,” “Date Rape,” “Doin’ Time,” “STP,” “Garden Grove,” “Badfish,” “Burritos,” “Ensenda,” “What I Got,” “Same in the End,” and “Santeria.”
Ukrainian metal act Jinjer were next up on the agenda, and I’ve got to say, of all the female-fronted bands we were able to witness at Rockville, their frontwoman (Tatiana Shmayluk) was by far one of the most unique – not to mention one of the sexiest – of them all. The group blasted through numbers like “Retrospection,” “Green Serpent,” and “Someone’s Daughter” (among others) with ease.
Ironically, the last time I saw Killswitch Engage, it was on that very same Vans Warped Tour with It Dies Today back in 2007. At that time Howard Jones was still handling lead vocal duties (quite admirably too I might add), but I was looking forward to seeing the band with original lead singer Jesse Leach back at the helm this time though.
And apparently I was not the only one; it seemed like nearly everyone inside of the Speedway came from far and wide to pack the surrounding areas of that stage to hear the band do “Rose of Sharyn,” “In Due Time,” “This Fire,” “Broken Glass,” “Hate by Design,” “Forever Aligned,” “The Signal Fire,” “I Believe,” “My Curse,” “The End of Heartache” (in which the band briefly stopped midway due to an injured fan), “My Last Serenade,” and their cover of Dio’s “Holy Diver.”
Another band I caught many years earlier at a Warped Tour (I believe 2002) though wouldn’t really call myself a “fan” of, Good Charlotte, were next up. I was surprised by how much energy the band brought even after having just watched Killswitch, with tracks like “The Anthem,” “Girls & Boys,” “Keep Your Hands Off My Girl,” “Predictable,” “Hold On,” “Wondering,” “Life Changes,” and “The Young and the Hopeless” all leading the charge.
But it was what came next that created one of the most truly unique moments at Rockville this year; Wheatus singer Brendan B. Brown suddenly emerged to duet with G.C. frontman Joel Madden on the 2000 hit “Teenage Dirtbag.” It was just one of those small yet special and rare moments that only seems to happen once in a blue moon, and there was no way the band could top it afterwards, even with a few more tracks in the form of “Little Things,” “The River,” “Dance Floor Anthem,” “I Just Wanna Live,” and “Lifestyles of the Rich & the Famous” still up their sleeves.
And now we get to…Green Day. I remember when the band first started becoming a household name after the release of their third album, Dookie, in 1994. One of my trendy older sister’s, trying to describe the band to someone and sound cool in the process, labeled them as a “Jesse band” (and that’s a direct quote). Having already been into more “authentic” punk bands at the time such as the Misfits and the Ramones, I took it as somewhat of an insult rather than a compliment, and my opinion of the band has only gotten worse with each subsequent release from them since.
Honestly, their concert was one of the most pointless and low quality I can recall in recent memory. They started things off with Queen’s “Bohemian Rhapsody” (a much better song from far more talented musicians) blaring on the house speakers before some guy in a bunny suit hoped around moronically to the Ramones’ “Blitzkrieg Bop” for no apparent reason that I could see.
It didn’t get any better once they emerged with their commie rhetoritc that is “American Idiot,” with Billie Joe Armstrong throwing in predictable jabs towards a certain faction of Americans (so edgy) in his annoying voice as always. I didn’t get the appeal as more tracks like “Holiday” and “Know Your Enemy” (at which point the band did at least let a young fan onstage to have the time of her life) and “Boulevard of Broken Dreams” continued to ring out.
Green Day performs on night number two of Welcome to Rockville in Daytona Beach, FL on Friday, 5/16/25 (Photo by Josh Kelly).
“One Eyed Bastard” was a bore, and by the time they reached a couple of tracks from said Dookie album (“Longview” and “Welcome to Paradise”) we had had enough for the night and started heading for the door, and with zero regrets about it, either.
Saturday, May 17 (Day 3):
By day number three I was already spent, so we not only took our time arriving, but I had already pre-decided I was not going to worry about most of the earlier bands (I had already seen most of them in some shape or form already anyhow, so it was not much of a loss really).
The first act we caught of the day was Christian rockers P.O.D., who were just wrapping things up with their early-2000’s mega hits “Youth of a Nation” and “Alive.” After which, there was an oh-so-brief glimpse of Taking Back Sunday before it was time for me to retreat yet again until Municipal Waste hit the stage.
Late last year I had actually briefly met M.W. frontman Tony Foresta at a Fear show (and if you recall earlier in this article, he had actually guested on stage with Exodus just two days prior), but I had still yet to see Tony and co. tear things up with their maniciacl crossover mix.
“Slime and Punishment” was appropriately the track the band was already mid-song playing by the time we scooted up to the party. “The Thrashin’ of the Christ,” “Poison the Preacher,” “You’re Cut Off,” “High Speed Steel,” “Grave Dive,” “Wave of Death,” “Demoralizer,” and “Born to Party” (complete with a guy in a hazmat suit) all found their way into their set list.
Occasional Rewind It contributor Seth Johnson and his wife Erin had met up with us by this point, and just in time for Florida death metal legends Obituary. My introduction to the genre actually came via two cassette tapes (that’s right) found at a pawn shop “back in the day;” Cannibal Corpse’s Eaten Back to Life, and Obituary’s Slowly We Rot. So it was a thrill to finally cross the band off the list as well (C.C. I had actually seen before way back in 2006). The band ripped through their set that consisted of “Snortin’ Whisky,” “Redneck Stomp,” “A Lesson in Vengeance,” “Body Bag,” “The Wrong Time,” and “Slowly We Rot.”
I wasn’t quite sure what to make of Bilmuri (lead by former Attack Attack! frontman Johnny Franck) while waiting for Acid Bath to play, but their saxophone player Gabi Rose added a slight ’80s touch to the proceedings (not to mention some very…interesting attire) on tracks like “Emptyhanded” and “The End” (I’m not going to even attempt to try to spell most of their long-winded songs).
Acid Bath are one of those sludge metal bands that hold just enough appeal to hold my interest (similar to Down), and their reuniting for the first time since the late ’90s was definitely one of the most-talked about moments of Rockville this year. “The Beautiful Downgrade,” “Tranquilized,” “Bleed Me An Ocean,” “Venus Blue,” “Dead Girl,” “Pagan Love Song,” and “Dr. Seuss is Dead” were all worth the the wait to hear live.
Pierce The Veil may be one of those newer groups more up my son’s alley, but I’ll admit I actually did enjoy what we watched of their set. Tracks like “I’m Low on Gas and You Need a Jacket,” “Circles,” “Karma Police” (Radiohead cover), “May These Noises Startle You in Your Sleep Tonight,” “Hell Above,” “Caraphernelia,” “Emergency Contact,” “Hold on to May,” and “King For a Day” (with Sleeping with Sirens singer Kellin Quinn) were all admirable to say the least.
And lastly, the latest incarnation of Linkin Park with Dead Sara vocalist Emily Armstrong in place of the late Chester Bennington closed out the night. As far as nu metal goes, I’d rather listen to them over the likes of say, well, Mudvayne (stay tuned), and I actually liked some of the earlier Michael Bay Transformers films that they provided songs for, so one of the stipulations I had beforehand was to hear them do at least one of those songs live.
After some brief intros, the band launched into some familiar numbers such as “Somewhere I Belong,” “Lying From You,” “Crawling,” “Two Faced,” and my stopping point, “New Divide” (from 2009’s Revenge of the Fallen). I won’t sit here and tell you Armstrong is flawless in Benniington’s place, but she seems to be trying her best at the shoes she’s been given to fill.
Linkin Park’s Emily Armstrong serenading the crowd at Welcome to Rockville in Daytona Beach, FL on Saturday, May 17 (Photo by Josh Kelly).
Sunday, May 18 (Day 4):
By day number four on Sunday, I was definitely ready for it all to be over, while at the same time grateful to finally have my beloved wife and number one photographer Brooke by my side for it. It was especially notable for us to finally see Marilyn Manson together, having both attended the same 2008 show of his together without even knowing it (prior to our eventual dating/marriage).
As we walked in for the day, we caught glimpses of Gatecreeper, Attack Attack! and Fit For An Autopsy, but it wasn’t until Orlando’s own Sevendust that we really paid solid attention to a group, with tracks like “Pieces,” “Denial,” “Praise,” “Black,” “Enemy,” and “Face to Face” exploding across the Speedway.
Sevendust performing at Welcome to Rockville in Daytona Beach, FL on Sunday, May 18 (Photo by Brooke Striewski).
Blessthefall is one band I photographed live in Orlando for a local band back in 2010 (along with Chiodos, who were also on the bill today), and I was looking forward to seeing how the band has matured since then. And they sounded spot on on tracks like “Wake the Dead,” “Cutthroat,” “Hollow Bodies,” “2.0,” “What’s Left of Me,” “You Wear a Crown But You’re No King,” and “Hey Baby, Here’s That Song You Wanted.”
Memphis May Fire and The Black Dahlia Murder were a couple of more interim acts before Hawthorne Heights, who surprisingly I don’t recall seeing before now. And hearing songs like “Saying Sorry,” “Hard to Believe,” and “Niki FM” were actually all quite effective live.
While waiting for Marilyn Manson to take stage, we were given no choice but to endure the end of Mudvayne’s set, who were in the process of ending the same set they had the last two times we saw them at Rockville, with tracks like “Not Falling” and “Happy?”
Marilyn Manson have definitely changed a lot since that last time Brooke and I had seen them all the way back in 2008, and no doubt have endured quite a bit as well (Manson briefly addressed this, calling those who tried to cancel him “vial”). But within seconds of hitting stage, I don’t think there was a single person in attendance doubting his ability to still put on an epic rock show (Manson’s young new guitarist Reba Meyers of Code Orange added to the energy, and was extremely easy on the eyes at that).
The band plowed through the likes of “Nod If You Understand,” “Disposable Teens,” “Get Your Gunn,” “Tourniquet,” “Sacrilegious,” “This Is the New Shit,” “mOBSCENE,” “Long Hard Road out of Hell,” “The Dope Show,” “As Sick as the Secrets Within,” “Sweet Dreams (Are Made of This),” and finally, “The Beautiful People.”
Reba Meyers performs on stage with Marilyn Manson at Welcome to Rockville in Daytona Beach, FL on Sunday, May 18 (Photo by Jesse Striewski).
The night could’ve ended right then and there and I would’ve been perfectly fine with it, but there were still some acts left, including Bad Omens. I had never really listened to them before, and although their music did not sound bad per se, it was definitely puzzling why they were actually in a headlining spot.
And last but not least, Korn finally took stage to close out Welcome to Rockville. Now, I haven’t actually owned a Korn album since their self-titled debut was given to me by a friends older sister, on cassette (that’s right). So I can’t say they’ve been my favorite band out there (again, the whole nu metal scene is more up my kid’s alley than it is mine).
But I’ll admit, the band showed no mercy as they tore through numbers like “Blind,” “Twist,” “Falling Away From Me,” and “Got the Life.” By the time they reached “Clown” though, we were completely spent, and decided to just listen what we could on the way out (“Did My Time” and “Shoots and Ladders” included), effectively putting an end to the 2025 Welcome to Rockville festival for good.
Before I fully get into the sheer insanity of this past Sunday night’s FEAR show at the second annual Space Coast Rumble in Titusville, FL, I first have to give a little back story of the years that actually lead up to it, and just how much it really meant to me on a personal level.
Like many before me, FEAR are one of those gateway punk bands I grew up listening to and loving, and have always wanted to cross them off my list of bands to see live. But alas, there have been many, MANY false starts prior.
The first time I had the chance to see the band back in the late ’90s/early ’00s, I was still in my teens with limited independence, and for whatever reason, I missed them (I believe my ride at the time may have bailed on me). That was strike one.
Then a few years later in either 2003 or ’04, a friend offered me to go with them to see FEAR in Orlando, but I declined due to having just gotten a new puppy at the time that I did not want to leave home alone just yet (strike two). I’m not complaining though – that puppy ended up being my best friend for many years until she passed on in 2018 (I still miss you dearly, Kaya).
Then in 2009, I was still within my first year or so of music Journalism when it finally happened – FEAR was coming to Orlando again (if memory serves correct to a venue no longer there called the Black Box Collective), and I was actually approved to COVER THEIR SHOW! (Complete with a plus-one on the guest list and all!) But midway through openers Total Chaos’ set, the police had finally had enough of the unruly crowd and shut things down before things ended in a riot. I was devastated.
Fast forward all these years later to late 2024, and longtime acquaintance of mine Tony from the band Swift Knuckle Solution informs me at a recent Exploited show that his band will be opening for FEAR at an annual event called Space Coast Rumble in Titusville. I knew I had to be there for it finally, and after some communications between the show’s promoter and the band’s management, Rewind It Magazine were approved to cover said show, and just in the nick of time.
I could hardly contain my excitement walking up to the event with my son and photographer Jacob the day of – especially when to our surprise, there was FEAR founder and frontman Lee Ving himself, grabbing a coffee with current bassist Amos Cook at a joint called Saints and Sippers (great coffee too by the way – and apparently even ran by Dee Snider’s nephew, Brett!). We exchanged pleasantries and even took photos with Ving, and just like that, all those years of waiting instantly became worth it before even hearing the band play a single note on stage.
Rewind It’s Jacob (left) and Jesse Striewski with FEAR frontman Lee Ving in front of Saints and Sippers Coffee on Sunday, 12/8/24 (Photo by FEAR bassist Amos Cook).
This quickly lead to some brief small talk “backstage” with the guys, including short exchanges with drummer Spit Stix, and an even shorter interaction with (and I had no idea of it at the time) Municipal Waste frontman Tony Foresta, who I’m definitely regretting not speaking to further. (I knew he looked familiar, too!)
By this time though we had already missed many of the opening bands of the day, including even Swift Knuckle Solution (Vicious Dreams were on stage by the time we had arrived, and with everything else going on around then I can’t really give them an honest assessment of their set). Thankfully we were still able to at least catch up with the guys in the band for a few regardless of this though.
Rewind It’s Jesse Striewski (right) with the guys from Swift Knuckle Solution shortly after their set in Titusville, FL on 12/8/24. (Photo by Jacob Striewski).
Psychobilly act The Strikers from San Diego, CA were up right before FEAR’s set, and gave it their all as they amped up the crowd for the main event, with a cover of Slayer’s “Raining Blood” being the biggest standout of the night for them (never expected to hear that one on an upright bass!).
And then it finally happened – Lee Ving and FEAR took stage with a fury, opening with “The Mouth Don’t Stop (The Trouble with Women Is),” “Do Me Some Damage,” and “Foreign Policy.” But no sooner than it had started, my heart sank – the sound went out due to technical difficulties. Could this really be happening again? Was there some sort of curse preventing me from actually seeing FEAR perform an entire set?
FEAR guitarist Eric Razo and drummer Spit Stix perform in Titusville, FL on 12/8/24. (Photo by Jacob Striewski.)
Some banter between band and fans kept things going before the issues were resolved and they thankfully got back to business with “Bomb the Russians,” “Let’s Have a War,” and “No More Nothing” before it happened AGAIN – the power went out once more. By this point I was really growing concerned that this truly could be it.
But once more, things returned to normal (and this time permanently), the group coming back stronger than ever with a cover of Bob Seger’s “Ramblin’ Gamblin’ Man,” followed in rapid fire succession by “Responsibilities,” “Fuck You Let’s Rodeo,” “Ugly as You,” “Gimme Some Action,” “Hey,” “We Destroy the Family,” and “We Just Love the Little Girls.”
After a little “Fresh Flesh” and Ving critiquing his own lyrics, the band went into a brief impromptu version of the Christmas classic “Let it Snow” before breaking out the big guns in the form of “I Love Livin’ in the City,” “Beef Bologna,” “New York’s Alright If You Like Saxophones,” “Have a Beer with Fear,” “More Beer,” and “I Don’t Care About You.”
FEAR performing at the Space Coast Rumble in Titusville, FL on 12/8/24. (Photo by Jacob Striewski).
And while this seemed to signal the end of the band’s set, they still had a couple more up their sleeves with “Fuck Christmas” (more than appropriate for the season we’re currently in) and “Disconnected” before taking their final bows.
Some quick “thank you’s” with bassist Cook (who by the end of the night was probably tired of seeing our faces – can’t thank him enough for his and the rest of the bands’ hospitality throughout the evening though) and guitarist Eric Razo put the icing on the cake for the already exceptional evening, and my son and I walked away with another shared memory we’ll take with us for the rest of our lives.
If ever there were a band that I could (or perhaps more accurately, should) personally thank for my love and obsession of ’80s heavy metal, it’d be W.A.S.P., who are easily up there alongside the likes of such other personal favorites as Iron Maiden and Megadeth (among others).
Earlier on at the start of my initial trek into rock journalism, W.A.S.P. founder/leader Blackie Lawless was one of the very first interviews I ever conducted back in 2010. Shortly afterwards, I was able to cover their Orlando show at then-Club Firestone in March of that same year for one of my first (and personal favorite) concert reviews.
So when I learned Blackie and co. were heading back to O-Town with fellow metal legends Armored Saint in tow on Sunday, November 24, I knew it was a show not to be missed. Significantly different for me this time around though was having my wife/Photographer Brooke by my side to shoot this one, as well as my teenaged son Jacob, who was far too young that first time around to see them (the only noticeable difference as far as the band itself goes is of course the drummer position since going from Mike Dupke to former Di’Anno/DragonForce member Aquiles Priester).
Openers Armored Saint have been on my list of bands to see longer than I can even remember now, with frontman and former Anthrax (another personal favorite) singer John Bush being another reason for this (over the years I’ve actually managed to catch Anthrax live a solid four times, though never with Bush at the helm). And despite having been some time since I last really sat down and took notice of their music, I was instantly propelled back in love with their material.
Armored Saint (and former Anthrax) frontman John Bush performing at The Plaza Live in Orlando, FL on Sunday, November 24 (Photo by Brooke Striewski).
After a backing track of Judas Priest’s “Delivering the Goods” introduced the band to the stage, they quickly gained the attention of the sold-out crowd, ironically with “End of the Attention Span.” “Raising Fear,” “The Pillar,” and “Pay Dirt” all lead up to the title track of their 1984 debut album, “March of the Saint.”
“Left Hook From Right Field,” “Aftermath,” and “Win Hands Down” all kept the momentum going before Bush took to the balcony (complete with security in tow) to deliver their timeless hit, “Can U Deliver.” The band dropped one more heavy-hitter in the form of “Reign of Fire” prior to taking their final bows and handing the stage over to W.A.S.P.
Armored Saint drummer Gonzo Sandoval raises his sticks high in appreciation to the sold-out crowd at The Plaza Live in Orlando, FL on Sunday, November 24 (Photo by Brooke Striewski).
In their entire four-decade plus of existence, W.A.S.P. have apparently never opened a show with their fist-pumping 1984 anthem “I Wanna Be Somebody.” But being that this tour (dubbed “Album One Alive”) is a celebration of the foretith anniversary of their self-titled debut, that has all changed with the band performing all ten tracks from it in chronological order.
Of course if you already know that album, you’re already aware this was followed by “L.O.V.E. Machine,” “The Flame,” “B.A.D.,” and “School Daze” rounding out the first side. But I’ve personally always been partial to side two tracks such as “Hellion,” “Sleeping (In the Fire),” “On Your Knees” (the band’s usual show-opener, and first track they played way back at that 2010 show), “Tormentor” (complete with footage from the band’s appearance in the 1984 film The Dungeonmaster rolling behind them), and album closer “The Torture Never Stops” (which featured some of the oddest footage in recent memory playing for it).
After a brief reprieve, the band re-emerged with a circus-themed stage setup and a recording of “The Big Welcome” prior to launching into a medley of “Inside the Electric Circus/I Don’t Need No Doctor/Scream Until You Like It” before belting out their cover of The Who’s “The Real Me.” The 1989 power ballad “Forever Free” then preceded the darker epic “The Headless Children” before the band closed out the night with the one-two punch of 1985’s “Wild Child” and “Blind in Texas.”
W.A.S.P. frontman/leader Blackie Lawless in command of the stage at The Plaza Live in Orlando, FL on 11/24/24 (Photo by Brooke Striewski).
While I understand the demand for the band’s earlier, most well-known material, and that this tour is a total celebration of just that as stated earlier. But if I’m being totally honest, there’s so much more underrated material from them that I’d rather love to hear live. No doubt the chances of hearing something along the lines of “Take Me Up” or “Asylum #9” (for example) live is highly unlikely, that doesn’t change the fact that I’d still personally love to hear them performed (even something from The Idol – which I was lucky enough to hear them play tracks from, as well as the Dominator and Babylon albums that first time all those years ago – would’ve been nice to have heard something from).
But personal preferences aside, there’s no denying that Lawless and company completely dominated that stage last Sunday night, and I’d have a hard time believing any one in attendance that night would actually argue otherwise. These days I’m typically more reserved and focusing on critiquing the shows I’m at, but every once in awhile a band will get me raising a fist in the air and screaming every lyric out from start to finish; that band to get that type of reaction out of me again was without a doubt W.A.S.P.
Up until this past week, Testament were still one of the few remaining early/OG thrash bands I was waiting to cross off my list to see. Little did I know my son/Photographer Jacob and I would essentially be spending two back-to-back days with the band in Orlando, first at a meet and greet/Q & A event at Park Ave CDs on Monday, October 14, then followed by watching the band perform at the Hard Rock Live with Kreator and Possessed (two other bands I’ve also been waiting many years to see) on Tuesday, October 15.
Monday night’s said event, where the band answered questions in an interview-type setting (as well as several questions from fans in attendance) before signing coffee cans of their newly-released Brazen coffee from Concept Cafe Coffee among other items (I personally had a can of it and a copy of 1992’s The Ritual album signed). There was even a brief pumpkin-carving contest, in which one fan in attendance took home the win for their Testament-themed submission.
Father and son writer/photographer duo Jesse Striewski (left) and Jacob Striewski with Testament’s (from left to right) Chris Dovas, Alex Skolnick, and Chuck Billy at Park Ave CDs in Orlando, FL on Monday, October 14.
As if the Park Ave CDs event was not enough to quench just about any fans’ thirst, the group were primed to hit the stage the following night at Hard Rock Orlando, and Rewind It were set to cover the show from start to finish with a photo pass. Unfortunately though it was still not meant to be to see death metal pioneers Possessed, whose set we missed entirely thanks to the traffic endured along the way (although a brief encounter with one of the younger members of the band did present itself for Jacob while on the other sides of the barricades prepping to shoot).
By the time we actually arrived, German metal masters Kreator – who ironically we had only caught the tail end of their set the last time we came across them at 2023’s Welcome to Rockville festival – were just kicking things off with (after “Run to the Hills” and “Sergio Corbucci is Dead” as brief intros for good measure) “Hate Uber Allies,” “Phobia,” and “Enemy of God.”
I was taken back by the amount of energy on full display by both band and audience alike (at one point the band had the crowd “open the pit” for one of the most intense moshing sessions I’ve ever witnessed to date) as they plowed through more numbers in the form of “666 – World Divided,” “Hordes of Chaos (A Necrologue for the Elite),” “Hail to the Hordes,” “Betrayer,” and “Satan is Real.”
Kreator give it their menacing all on stage at the Hard Rock Live in Orlando, FL last Tuesday, October 15 (photo by Jacob Striewski).
An audio recording of “Mars Mantra” lead to a couple of demonic looking figures – reminiscent of something out of Buffy the Vampire Slayer – walking out on stage to segue the group into “Phantom Antichrist,” “Strongest of the Strong,” and “Terrible Certainty.” Another brief intermission lead to an encore featuring “Violent Revolution” and “Pleasure to Kill” prior to the metal legends taking their final bow and exiting the stage.
And speaking of metal legends, Testament finally made their way onto stage after the Beastie Boys’ “Fight For Your Right” curiously acted as their intro. “Eerie Inhabitants,” “The New Order,” and “Apocalyptic City” started their set off promisingly enough, though the enthusiasm from the crowd actually seemed to feel greater during Kreator’s set by this point in all honesty.
Testament frontman Chuck Billy giving it his all on stage at the Hard Rock Live in Orlando, FL on Tuesday, October 15 (photo by Jacob Striewski).
More old and new favorites alike followed in the forms of “Raging Waters,” “The Preacher,” and “Trial By Fire” before a drum solo by admirable newcomer Chris Dovas, which then steered the band towards the likes of “First Strike is Deadly,” “A Day of Reckoning,” “Do or Die,” and “C.O.T.L.O.D.,” which all kept the momentum going.
Some of the best moments were saved for last as “Disciples of the Watch,” “Over the Wall,” and “Into the Pit” ended the already epic night on an epic high note. On a personal side note, one of the highlights during the entire two-night ordeal came via seeing/meeting former Death bassist Steve DiGiorgio, a local legend in his on right, as a member of Testament.
I can’t say I was expecting to cover two back-to-back concerts for Rewind It Magazine this past week (with punk legends The Exploited being the first on Thursday, October 3). But once I heard that Whitesnake guitarist Joel Hoekstra and Devil City Angels frontman Brandon Gibbs were playing an acoustic show just a stone’s throw away from where I live at Lake Concord Park in Casselberry, FL, I knew it would be worth the effort to catch with both my wife Brooke and son Jacob (each veteran Rewind It photographers by now).
We’re definitely far from strangers when it comes to Hokstra, Brooke and I having already caught him play live years prior on stage with Night Ranger (one of just many more acts he has been a part of over the years, including Trans-Siberian Orchestra and Foreigner). And we were primed to see him again as a member of Whitesnake at a 2022 Scorpions show we were at prior to them sadly needing to cancel the rest of their tour shortly beforehand. This would however mark our first time seeing Brandon Gibbs, who aside from being in the aforementioned Devil City Angels, was also on the sidelines for Poison during their recent 2022 tour.
We didn’t have much time to catch opening local cover act Spitfire (other than hearing their version of Pat Benetar’s “Hit Me with Your Best Shot” and maybe one or two others) before we were swiftly whisked away to a “backstage” area for a brief pre-show meet and greet with Hoekstra and Gibbs themselves (thanks so much again to their management for arranging this).
Whitesnake guitarist Joel Hoekstra performing in Casselberry, FL on 10/4/24 (photo by Jacob Striewski.
There’s some rock fans out there who might say you can’t properly “rock out” at an acoustic show, but I beg to differ. This was none more evident than when the guys took the stage and opened with an upbeat rendition of the Devil City Angels’ “Boneyard.” A cover of Whitesnake’s “Love Ain’t No Stranger” preceded Poison’s “Every Rose Has Its Thorn” appropriately.
Hoekstra then followed things up with “Hard to Say Goodbye” from his side project, Joel Hoekstra’s 13, before breaking into an impressive guitar solo. Acoustic versions of AC/DC’s “Dirty Deeds Done Dirt Cheap” and Led Zeppelin’s “Whole Lotta Love” were also surprisingly more effect than one might think in that form.
Some heartfelt words came from Hoekstra regarding the recent cancer battle of former Whitesnake guitarist Doug Aldrich before the duo closed out their set with the massive Whitesnake classic hits “Is This Love” and of course, “Here I Go Again” before the guys took their final bows of the night. It was undoubtedly a fitting ending to an already fine evening.
Rewind It Photographer Jacob Striewski (center) with Whitesnake guitarist Joel Hoekstra (left) and Devil City Angels frontman Brandon Gibbs in Casselberry, FL on 10/4/24.
Many moons ago (back in 2003 if memory serves me correct) when I was still hitting up every and any punk and/or metal show I could get my hands on, I had a chance to catch second wave hardcore punks The Exploited play in Orlando. For whatever reason, the opportunity to see them that night slipped from said hands of mine, and they have since remained on my list of “bands that got away.” All these years later, I can finally say I’ve scratched them off that list now.
However, a lot has changed in those twenty plus years since then, and I no longer really fit in the “angry young man” category I was lumped in at the time, nor do I honestly align much these days with the politics typically associated with punk (life experience will do that to you). So I wasn’t sure how I’d feel going into this past week’s recent show at Cafe DaVinci in DeLand, FL with Exploited, Total Chaos, and Tarah Who? on Thursday, October 3.
My fears were quickly put to rest within minutes after entering the venue though – this time with long-time associate and friend of the Rewind It Magazine family, Seth Johnson by my side to handle photography duties again – when we were greeted with a warm welcome by Exploited guitarist Steve Campbell.
Not long after this encounter, a brief interaction with Tarah Who? singer/guitarist Tarah G. Carpenter also presented itself. Having been the band that put Rewind It on the guest list and overall reason we were essentially there to cover things that night in the first place, I expressed my gratitude and wished her a great show.
Tarah Who? performing at Cafe DaVinci in DeLand, FL on 10/3/24 (photo by Seth Johnson).
The quartet took the stage just before dawn as the crowd was still piling in for the evening. After a brief recorded spoken intro, the group blistered into their set that included the likes of “Sirens,” “Grown Up,” “Army of Women,” “Bitchcraft,” Pantomath,” “Ache,” “Linger,” “Dimples,” and “Burn This Shithole Down.”
The author Jesse Striewski (left) with Tarah Who?’s Tarah G. Carpenter before the night’s proceedings (photo by Seth Johnson).
The only band on the bill that night I had previously seen before was Total Chaos, first at Warped Tour way back in 2002, and then again at an Orlando show opening for Fear in 2009, where their set was famously cut short due to an unruly crowd that simply could not behave themselves (leaving Fear another band still on the old bucket list of mine).
Needless to say their lineup had changed considerably since each of those shows, with sole original member/singer Rob Chaos and longtime guitarist Shawn Smash remaining the only two members still intact from those days. But I could tell right at the onset with new tracks like opener “War is a Racket” the band likely just wouldn’t hold the same effect on me as they once may have.
Longtime personal favorite of mine “Babylon” may have helped pique some interest in me, though the rest of the set – which included “Squatters Song,” “Pledge of Defiance,” “Punk No Die,” “Running with the Youth,” “Street Punx,” “Police Rat,” and the anthemic closer “Riot City,” all had mixed results for me to say the least. Still, if nothing else it was a nice trip down memory lane I suppose.
Total Chaos performing at Cafe DaVinci in DeLand, FL on 10/3/24 (photo by Seth Johnson).
And lastly, Scottish imports The Exploited, lead by trusty mohawked frontman Wattie Buchan (and with new drummer Garry GMan Sullivan, formerly of Cro-Mags and The B-52’s, in tow behind him) finally made their way to the stage (and to much applause), coming out swinging hard with “Let’s Start a War (Said Maggie One Day)” before launching into an onslaught of punk staples that included “Fightback,” “Dogs of War,” “The Massacre,” “UK 82,” “Chaos Is My Life,” and a personal favorite of mine, “Alternative.”
“Noise Annoys” followed before an intense rendition of “Troops of Tomorrow” (personally I prefer the more apocalyptic feel of the original album version myself though), which then lead to the likes of “Never Sell Out,” “I Believe in Anarchy,” “Holiday in the Sun,” “Rival Leaders,” “Beat the Bastards,” “Cop Cars,” “Fuck the System,” “Porno Slut,” “Army Life,” and “USA,” which all kept the momentum going smoothly.
As if this was all not enough, the band then returned and invited fans onstage for a healthy dose of “Sex & Violence” before finally calling it a night with the one-two punch of “Punks Not Dead” and “Was It Me.” After all these years, was it worth the wait? Perhaps, though there was at least one or two tracks I felt were left out I would’ve liked to have heard. And if this now works out to be the only time I ever see The Exploited, I think I’ll live just fine with that.
