As alluded to in my previous article, last week was a whirlwind filled with shows and live music, all taking place in Daytona Beach. It all started with the combo concert/fight that was Blood 4 Blood, featuring the likes of Black Label Society and Crowbar on Wednesday, 5/6, one of Rewind It Magazine‘s “official” covered shows of the year.
Then beginning the very next day it was the massive annual outdoor festival Welcome to Rockville, which the family and I have been attending nearly every year since 2021, though this year I only made it out to the first two days. (Though my son did stick with it for all four.) In that time span I was able to finally catch the likes of several extreme/death metal acts – many of which that had long since eluded me – in the form of Carcass, Cradle of Filth, Death Angel, Kreator, and Deicide, as well as several more contemporary bands such as Ice Nine Kills, Dethklok, and Atreyu. (Guns N’ Roses were also the headliners that first night, and their quality has long since gone downhill since the last time I caught them back in 2006, even with the current “reunion” of the band intact.)
But between the large crowds, excessive heat and all-around terrible weather (we actually left early on the second night due to the show being postponed by a thunderstorm), and overall lack of interest in the bands scheduled on the last two nights, there was very little reason to get me to go back and endure two more full days of it.
Yet this all turned out to be a blessing in disguise that would free us up to once again to catch up with former Misfits frontman Michale Graves at Bam Bam’s in Daytona, another show confirmed for Rewind It just days prior, and our second time covering him live and acoustic since 2021.
I’ve seen Graves onstage many times over the years going as far back as 1999 – both as a member of the Misfits, and as a solo artist – and he never disappoints. These days, his shows are the only place to go for those wanting to still hear ’90s-era Misfits live (And if you were a card-carrying member of the Fiend Club back in the day such as myself, its certainly worth it.)
The atmosphere was completely palpable by the time Graves took the stage, and he no doubt had the crowd in the palm of his hands as he launched into “The Best of Me, quickly followed by “Wanderer,” and “I Believe.” A couple of Misfits cuts in the form of “Descending Angel” and “Shining” had the crowd singing along, before Graves unleashed the fan-requested Web of Dharma track, “Ophelia.” (A personal favorite of mine as well – nice touch!)
Michale Graves performing at Bam Bam’s in Daytona Beach, FL on Sunday, 5/10/26. (Photo by Brooke Striewski.)
“Nobody Thinks About Me” and “Almost Home” followed before launching into the track that more or less put him on the map, “Dig Up Her Bones.” “All the Troubles” lead to another Misfits classic in the form of “Saturday Night,” while part of Nirvana’s “Come As You Are” would segway into “Fiend Club.” Emotions ran high for “American Prayer,” “Boxcar Headed East,” and even “Dawn of the Dead,” which all lead up to closer “New Song.”
It’s a shame so many contemporaries out there refuse to even give Graves the time of day, simply because he hasn’t fallen in line with the status quo the way they have. (How very “punk rock” of them.) Graves is a sincere, humble musician AND human being that I have no doubt more would be able to see if they’d only open their minds up a bit more. In fact, I felt so inspired after his set this time, I even had him sign my right arm for a potential future tattoo. (Which still remains to be seen if I do indeed make permanent).
And what did Graves do? He not only graciously signed it, but also showed signs of legit concern for me actually going through the procedure of getting another tattoo, knowing at this point that I was only about half a year removed/in remission from a nasty bone disease after our brief conversation beforehand. I have no doubt this is the exact same type of humility Graves displays for fans across the board, and is indeed the type of person I think of whenever I think of Michale Graves.
Back in late 2006, I had been a new father for just over half a year when I ventured out to Ormond Beach, FL for Biketoberfest to catch Quiet Riot and Skid Row – two bands I loved while growing up that many of my middle/high school peers would surely give me flack for still rocking out to at the height of grunge and nu metal (Though I never cared much what anyone else thought). It ended up being one of the funniest shows I had ever been to up to that point, and I’ll forever be grateful to have seen the late legends Kevin DuBrow and Frankie Banali on stage together prior to their unfortunate, respective passings since.
Twenty years later, and a lot has certainly changed. But I knew when I saw Quiet Riot were coming to the Hard Rock Live in Orlando with Vixen in tow on Friday, March 6 (coincidentally one year to the day since I was also discharged from the hospital), it was time to finally catch the band live again, this time with my wife and Photographer Brooke beside me for the ride, too, who was ready to once again break out her SLR camera again for the occasion. (As crazy as the first week of March might have started out for us, too.) And after putting in a last-minute request, we got the “okay” from none other than Quiet Riot guitarist Alex Grossi himself (the only remaining member of the band left from said time I caught them back in ’06 who I also interviewed for Rewind It Magazine back in 2021), we were all set to go. (Thank you again, Alex.)
Almost immediately after entering the building it was clear that we had made the right decision to go. While preparing to start photographing the show from the side of the stage, Brooke ran into longtime (and legendary) Quiet Riot bassist Rudy Sarzo, whose initial time in the band stretches all the way back to the late ’70s, and recently returned to the lineup in 2021. Sarzo – who also served some time in both Ozzy Osbourne’s band and Whitesnake in the ’80s, and has also had stints with the likes of Dio and Blue Oyster Cult, among so many others – was no doubt one of the major selling points for us to go that night in the first place (Especially yours truly, having come from the school of bass players myself.)
Another group that we’ve caught live before who have also experienced some significant lineup changes since the last time we saw them back in 2019 (opening for Sebastian Bach, ironically at the very same venue), the always-lovely Vixen, who now featured new lead singer Rosa Laricchiuta, and temporary bassist Jennifer Jo Oberle filling in for Julia Lage. (Who is currently on tour oversees with Smith/Kotzen, and admittedly I was a bit disappointed to find out was not there, though Oberle no doubt did an admirable job in her place).
Vixen on stage at the Hard Rock Live in Orlando, FL on Friday, March 6. (Photo by Brooke Striewski.)
The gals kicked off the night with plenty of energy though, opening with “Rev It Up” before launching into “Charmed Life,” “How Much Love,” “Crusin’,” “Hard 16,” and “Cryin’.” A medley featuring parts of “Runnin’ with the Devil,” “I Want You to Rock Me,’ “Perfect Strangers,” “What You’re Doing,” “War Pigs,” and “Still of the Night” kept the momentum going before a drum solo from Roxy Petrucci lead them back to “I Want You to Rock Me.”
Yet the girls were still far from finished, with “Streets in Paradise, “Love is a Killer,” “Not a Minute Too Soon,” “You Ought to Know By Now,” “Love Made Me,” and of course, “Edge of a Broken Heart” all finally wrapping up their whopping seventy-five minute long set.
By the time Quiet Riot hit the stage the excitement was undeniable. The previously mentioned Sarzo and Grossi were now joined by another former Rewind It interveiwee, Jizzy Pearl of Love/Hate (another band whose show we covered some years back in 2018), and drummer Johnny Kelly of Type O Negative and Danzig fame. (Who I was also lucky enough to catch on stage with both acts in the past in the ’90s and ’00s.)
Bass icon Rudy Sarzo commanded the stage with Quiet Riot at the Hard Rock Live this past Friday, March 6 (Photo by Brooke Striewski).
In an instant the entire audience was transported back in time with the likes of “Run For Cover,” “Slick Black Cadillac,” “Mama Weer All Crazee Now,” and “Love’s a Bitch,” all paving the way for what was still to come. The tender “Thunderbird” was then introduced and then dedicated not only to late guitarist Randy Rhodes (who the song was originally penned for after his tragic death in the early ’80s), but also DuBrow, Banali, and another former Sarzo bandmate, Mr. Ozzy Osbourne himself.
“Party All Night,” “Blackout in the Red Room,” and “The Wild and the Young” all kept the party going before the guys unleashed a medley of their own that featured “Let’s Get Crazy,” “Crazy Train,” a guitar solo from Grossi that segued into Van Halen’s “Eruption,” and a touch of Type O Negative’s “Black No. 1 (Little Miss Scare-All)” before coming full circle back into “Let’s Get Crazy” again.
By that point, there was not much more left to do other than the one-two punch of “Cum On Feel the Noize” and “Metal Health (Bang Your Head).” No doubt it was a night full of fun and classic anthems, but there’s more to it than just that; each time bands like Quiet Riot and Vixen hit the stage, they’re keeping not only the music itself alive, but also the memories of all those those who had a hand it helping to create it.
Way back in 2012 (and a few years before Rewind It Magazine), I took a chance to check out an ’80s show in Orlando with The Romantics, John Waite, and Modern English all on the same bill, and ended up having a blast that night. Fast forward a good decade plus, I heard The Romantics were coming back for another WMMO-sponsored event, this time at the Ocoee Music Fest with John Cafferty and the Beaver Brown Band, and the one and only Minikiss also on board, which more or less sealed the deal for me (and the wife and kid this time around, too).
Upon arrival this past Friday, November 14, Minikiss were already well into doing their thing (local musician Bre Hopkins had also played prior to them, though we were obviously unable to catch any of her set), and “Shout It Out Loud” could clearly be heard while walking over from the nearby parking lot, followed swiftly by the early-’80s Kiss classic “Lick it Up.” The band then went into “The Star Spangled Banner” in honor of Veteran’s Day, then teased the epic “Black Diamond” (one of my personal favorites) before seguing into the Black Sabbath classic “War Pigs” (and dedicating it to late frontman Ozzy Osbourne), and ultimately returning back to the 1974 classic they had previously started.
It was around the time of said track’s solo that I got a little teary-eyed thinking of Ace Frehley’s recent passing, and the fact he would never be around to play it himself again. It was also around this time that I noticed how few fellow KISS Army members were actually side-by-side with me that night, as so many (though not all) remained unmoved until the big “hits” started coming out.
Minikiss shouting it out loud at the Ocoee Music Fest in Ocoee, FL on Friday, November 14 (Photo by Brooke Striewski).
And the hits did come, with “I Was Made For Loving You,” “Love Gun,” and the timeless anthem “Rock n’ Roll All Nite” closing things out on a high note. As an avid Kiss fan who was able to see the band while still active (ironically also in 2012, the same year that I had caught The Romantics), as well as Frehley solo, I can say with all honesty that Minikiss are as close to the real thing one might get to seeing the band live these days (had I closed my eyes long enough, I might’ve actually believed it was them), and I think Kevin James’ Paul Blart just might agree (the band had cameo-ed in the 2015 sequel Mall Cop 2, for those unaware).
Next up was John Cafferty and the Beaver Brown Band. Not exactly an act I can say I’m a fan of per se, though their music has been here and there throughout my lifetime thanks to having songs included in such films as 1983’s Eddie and the Cruisers (and its 1989 sequel), and 1985’s Rocky IV.
The ensemble came out with I believe “Tough All Over” before getting right down to business with their massive 1983 hit, “On the Dark Side.” “Hearts on Fire,” “Blue Moonlight Drive,” and “C-I-T-Y” all kept the momentum going, likely winning over a new fan or two along the way (yours truly included).
John Cafferty and the Beaver Brown Band giving the crowd what they came for at the Ocoee Music Fest in Ocoee, FL on Friday, November 14 (Photo by Brooke Striewski).
And last but not least, The Romantics took the stage right around 9:15pm. The lineup had changed considerably since that last time I had caught them live in Orlando, most notably via original guitarist Mike Skill and bassist Rich Cole, whose simultaneous exits in 2022 left frontman Wally Palmer the sole original member now. However, the return of guitarist Coz Canler, who originally joined the band way back in 1981 but left in 2011, added some interest nonetheless.
That being said, the band’s sound has not missed a single beat, despite the changes. Opening strong with “Rock You Up,” the band followed it up with “In the Night Time,” “When I Look In Your Eyes,” “Gimme One More Chance,” and “Got Me Where You Want Me,” sung by current bassist Bruce Witken.
“One in a Million” has always been a personal favorite of mine, though sounded a bit on the weaker side this time around. “A Night Like This,” “Boom Boom Boom,” and “Bop” were each admirable efforts before the band pulled out the big guns with 1981’s “Talking in Your Sleep.”
The Romantics giving their everything to all those in attendance at the Ocoee Music Fest in Ocoee, FL this past Friday, November 14 (Photo by Brooke Striewski).
What could’ve been the perfect one-two punch ending was prolonged with a bit of overindulgence as the band continued with “Stone Pony” and “Little White Lies” before finally giving the crowd their first massive hit they had all came for, 1979’s “What I Like About You.” While it might not have been an entirely flawless affair from start to finish, it was no doubt a night filled with classic rock hits from the ’70s and ’80s, an era of great music worth holding onto for as long as possible indeed.
I really hadn’t planned on taking two back-to-back weekend trips to the Tampa/St. Pete area after having just traveled with the fam to the west coast the weekend prior for the Megadeth-spinoff band Kings of Thrash. But literally just two nights prior to the show, the wife and kid surprised me when they said they had won tickets from local rock station WJRR for the Stephen Pearcy/Warren DeMartini of Ratt fame show at the Ferg’s Concert Pavilion in St. Pete, FL on Friday, October 17. And hence, another Rewind It Magazine road show was born.
While initially hesitant about making the drive down there again so soon, it turned out to be a much better experience than the last show, with Pretty Boy Floyd – who Rewind It have covered two shows for now (one as far back as 2018, and another as recent as just two months ago this past August) were the first band we were fully able to catch (we arrived just as the first opening act, Permacrush, were finishing up, and I cannot give an honest assessment of them), and while I’ll try not to dwell on my medical issues here again, but will just say I was beyond relieved to see we had actual seats for the show (and the venue was a noticeable upgrade in comparison to some of the more recent ones we’ve visited as well).
My always reliable (and beautiful) wife/photographer Brooke instantly sprung into action while I hung back with our son (and sometimes secondary photographer) Jacob who, for the first time ever, had his girlfriend Em along for the ride with us this time as well. And with legendary KISS guitarist Ace Frehley having just passed the day prior, there were plenty images of the late musician’s face adorning many a fans’ t-shirts that night (yours truly included), and of course some mentions of him from some of the bands that night, too.
Pretty Boy Floyd performing at the Ferg’s Concert Pavilion in St. Pete, FL on 10-17-25 (Photo by Brooke Striewski).
But I digress, Pretty Boy Floyd took the stage with a fury as always, with “Your Mama Won’t Know” paving way for more classics like their cover of Motley Crue’s “Toast of the Town,” “48 Hours,” and “Rock n’ Roll Outlaws.” At one point frontman Steve Summers – always the showman – teased a cover of Marilyn Manson’s “The Beautiful People” with the rest of the band before announcing “We don’t do that one!,” before ending their set with the one-two punch of “I Wanna Be with You” and “Rock n’ Roll (Is Gonna Set the Night on Fire).”
I’ve known of the next act, Enuff Z’ Nuff, for as long as I can remember, though I cannot say I was ever much of a fan (their sound has always been a bit too “out there” and soft for my taste to be honest). But alas, we watched as Chip Z’Nuff and company went through tracks like “The World is a Gutter,” “Baby Loves You,” “Heavy Metal,” “Jet” (Paul McCartney cover), “Fly High Michelle,” and “New Thing.” After their set, I can say I could at least understand their like-ability a bit more than I had beforehand.
Enuff Z’Nuff performing at the Ferg’s Concert Pavilion in St. Pete, FL on 10-17-25 (Photo by Brooke Striewski).
It was at this point that the story really gets interesting. Thinking we had some time in between acts to make it back before Trixter hit the stage, Brooke and I wandered off for a bit. In our travels we briefly ran into Enuff Z’ Nuff co-founder/bassist/vocalist Chip Z’Nuff, and Pretty Boy Floyd’s Steve Summers and Jake Curtis Allard (always great seeing them!). But it was what came next that really took us both by surprise.
The thought did not even occur to me that local St. Pete rocker Todd La Torre of Queensryche might be on hand that night. But alas, a chance encounter found us briefly chatting with the lead singer/former drummer right then and there, and neither of us could believe it (It should be noted, Brooke and I had previously reviewed/photographed a Queensryche show for Rewind It back in 2019, as well as gone to see them at our first major show together when we were still just starting to date in early 2013, so the history is definitely there for us).
Rewind It’s Jesse Striewski (left) with Queensryche frontman Todd La Torre at Ferg’s in St. Pete, FL on 10-17-25 (Photo by Brooke Striewski).
By the time we got back to our seats, we saw members of Trixter still on stage, which we thought were still just setting up their equipment. It turns out though, they were actually breaking it down – our adventures mingling actually caused us to miss their set entirely. While disappointing at first, in the end, it was worth it to have the experiences that we did in the interim (we were also informed after the fact that Trixter’s set was also apparently cut short, which no doubt contributed to this).
And finally, the band everyone had come to see above all else – which features core Ratt members Stephen Pearcy (vocals) and Warren DeMartini (guitar), as well as alumni Carlos Cavazo (guitar/also former Quiet Riot) and Matt Thorne (early Ratt bassist from ’81-’82 and also former Rough Cutt), and ex-Slaughter drummer Blas Elias rounding things out – finally took the stage (not before some Spinal Tap-esque issues with the sound causing them to be a few minutes late at first), coming out swinging with their signature opener, “Wanted Man.”
A cover of “Walkin’ the Dog” followed before “I Want a Woman,” “Slip of the Lip,” “Body Talk,” “Lovin’ You’s a Dirty Job,” “I’m Insane,” “Nobody Rides For Free,” “Way Cool, Jr.,” “Lack of Communication,” and “Lay It Down” all kept the momentum going.
Stephen Pearcy performing at Ferg’s Concert Pavilion in St. Pete, FL on 10-17-25 (Photo by Brooke Striewski).
Somewhere along the way, Pearcy teased doing “a love song that they don’t play very often,” alluding to their oft-forgotten 1990 minor hit “Givin’ Yourself Away,” which I would’ve loved to have actually heard them perform (the two times I saw Ratt previously they shy-ed away from doing it then as well). But in typical Ratt fashion, the song was nixed, with Pearcy proclaiming “Here’s your love song!” at the start of “You’re In Love.”
By that point, there really was not much left to do other than unleash the big guns with “Back For More” and “”Round and Round,” which of course drew the biggest responses from the crowd. While Pearcy’s chops might not be what they once were, the band on stage that night was undoubtedly tighter than any other lineup of theirs I had seen previously, noticeably improving since the last time the Mrs. and I caught them in Orlando back in 2017. Is it perfect? Of course not…but that’s just rock n’ roll baby!
Those who know me well, know what a pivotal role Megadeth have played in my developing years as a young musician/bass player. First jumping on board around the Countdown toExtinction era (middle school days for me), I instantly gravitated towards bassist David Ellefson’s style the same way I had the likes of Steve Harris and Geezer Butler.
It would take several years before I would finally see the band live for the first of several times (in 2006), and a few more years until it would actually be with Ellefson back on stage with them finally by 2010. But it would be worth the wait indeed – not only was I able to meet him that very same day at a bass clinic in Orlando, FL, but just one year later I would find myself face-to-face (well, over the phone anyway) with Ellefson yet again, interviewing one of my bass idols for a nationally-published magazine at the time in 2011.
Fourteen years since that last encounter, I knew as soon as I heard Ellefson would be coming to The Brass Mug in Tampa, FL with his latest band, Kings of Thrash (which also features former Megadeth guitarist Jeff Young from the So Far, So Good…So What! era) that it was a show for Rewind It Magazine through and through.
What I did not know upon originally setting up coverage, however, is that I’d once again be put back on IV medications shortly before it thanks to the never-ending bone infection I’m still fighting right now (always a blast!), so it came as a bit of a surprise to find out after arriving at the Mug (with my usual photography crew/wife and son Brooke and Jacob Striewski in tow) this past Saturday, October 11 (each their first time hearing any Megadeth performed live), that there would be a whooping six bands to endure prior to the headliners (a lot for an old dog like me to take in right now indeed!).
The first act of the night, Killproof, were already mid-set upon entering the venue, and no doubt held their own on the stage. The follow-up group, The Hand of Reason, had their own unique indie-influenced sound that I did my best to watch all of. But for most of their set, as well as the following two bands Love Pit and Kalas, I found myself trying to stay off of my leg on the back porch area.
I paid a little more attention to Gravel from Colorado Springs, whose down-and-dirty style found them covering not only Airbourne’s “Runnin’ Wild,” but also an amped-up version of “I Think We’re Alone Now,” the pop hit originally from the ’60s before Tiffany got her hands on it in the late ’80s.
Local Florida rockers Deth FX (sometimes stylized DETHFX) were up next, and finally started scratching that thrash metal itch with tracks like “War Morality” and “Unnatural Reign” from their debut album. The guys truly gave it their all with each and every note that night, showcasing their talents for surely many a new follower.
Deth FX performing at The Brass Mug in Tampa, FL this past Saturday, October 11 (Photo by BrookeStriewski).
And last but not least, the Kings of Thrash (which is rounded out by vocalist/guitarist Chaz Leon of Black Daze, and Fred Aching, who has served some time with BulletBoys) finally took the stage just before midnight, instantly living up to their name with the intro to the said So Far… album, “Into the Lungs of Hell.” Not one member of the crowd was sitting down at this point, and rightfully so.
“Rattlehead” from the band’s 1985 debut Killing Is My Business…and Business Is Good! was up next before “Hook in Mouth,” “Train of Consequences,” “Victory,” “The Skull Beneath the Skin,” and “502” all kept the momentum going.
A brief drum solo segued into “In My Darkest Hour” and the haunting “Bad Omen” before the band started with their original track, “Lockdown,” which by then felt like the perfect stopping point for the night.
But not before briefly meeting legendary music producer/recording engineer Max Norman, who was there in the crowd that night. Not only has Norman worked with Megadeth on several of their ’90s-era releases ranging from Rust in Peace to the Hidden Treasures EP, he also had a hand in several of the late Ozzy Osbourne’s early solo albums, but also efforts from the likes of Y&T, Grim Reaper, and Armored Saint (among many others), so it was an absolute honor to actually shake his hand!
The author Jesse Striewski (right) with said recording engineer/producer Max Norman at The Brass Mug in Tampa, FL this past Saturday night, 10/11. (Photo by Brooke Striewski)
Of the numerous times I’ve seen Megadeth live over the years, not once can I recall them performing the majority of the songs heard this past Saturday night (sans of course the likes of “In My Darkest Hour”), especially any of the extremely earlier material from that first album. The Kings of Thrash show brought things back to exactly how I’d imagine a Megadeth club show to be “back in the day,” celebrating the music the way it indeed should be; I’m forever grateful to have witnessed it firsthand.
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.
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.
In 1974, a novel by the name of Jaws from Journalist Peter Benchley was published by Doubleday, which quickly found its way into the hands of American readers, as well as caught the attention of Producers Richard D. Zanuck and David Brown.
The two reportedly each read the book in the course of just one night, and it was unanimously decided that it would make a great, big screen film. Once soon-to-be legend Steven Spielberg was tapped to direct, the project had all the makings to become something truly unique.
Spielberg chose to hire actors without very much star power as not to take away from the “realness” of its blue collar setting. Roy Scheider, best known up to that point for his role in 1971’s The French Connection, was cast as the chief of police Martin Brody of the fictional Amity Island. Richard Dreyfuss, hot off the tails of 1973’s American Graffiti, was brought in to play marine biologist Hopper at the suggestion of George Lucas, while the role of rough-around-the-edges fisherman and WWII veteran Quint went to Robert Shaw, who seemed born to play the role.
Primarily filmed at Martha’s Vineyard, Massachusetts, the production was quickly nicknamed “Flaws” by crew members due to its painstaking shots on the water (it would be the first movie to ever fully utilize the actual open ocean in the way it ultimately did). Spielberg himself even stated if not for this, he might have even returned for a sequel.
Originally released on June 20, 1975 by Universal Pictures, the film took audiences by surprise right off the bat, and not only was an instant hit, it became a legitimate cultural phenomenon that would set the standard for the prototypical summer blockbuster from that point forward (it also briefly held the title for the highest-grossing film of all time until Star Wars surpassed it just two short years later in 1977).
Of course filmmakers knew the type of gold they had struck with it, and a sequel, simply titled Jaws 2, would soon follow in 1978 with the now-infamous tag line, “Just when you thought it was safe to go back in the water…” Spielberg had already expressed his disinterest in returning to direct (as previously mentioned), but Actor Roy Scheider was eventually coaxed into returning as Chief Brody after much hesitation (several other actors from the original, including Lorraine Gary and Murray Hamilton, also returned for the proceedings).
By the early 1980’s, 3-D had become all the rage, so it was only natural for Jaws 3 (originally released as “Jaws 3-D” in theaters) to be shot in this format in 1983. In this entry, the two Brody sons, now fully grown, are terrorized at a SeaWorld park that the eldest brother Michael (played by Dennis Quaid) works at. While far from the strongest of the bunch, the film still had some fun moments, and was filmed almost entirely at the Orlando, FL SeaWorld location.
The author (left) and son pictured at SeaWorld Orlando where much of 1983’s Jaws 3 was filmed on 1/1/12.
And then you have 1987’s preposterous Jaws: The Revenge, which found the shark actually following two of the Brody’s (Lorraine Gary returned one last time as Ellen, while Lance Guest takes on the role of Michael, completely ignoring the events of the third entry) from Amity to the Bahamas. It’s as far-fetched as it sounds, but good for a laugh every now and then (be sure to watch for the famous lion-roar scene at the end if you’ve never seen it), and if nothing else another memorable tag line in the form of “This time it’s personal” would also emerge thanks to this sequel.
But the legacy of that first, now fifty-year-old film is not likely to fade any time soon. From action figures (my autistic nephew Michael is an expert on these!), video games, attraction rides (such as the former popular one at Universal Studios), to even Jaws-themed wines (see photo below), there’s no shortage of ways to celebrate the film.
On a personal level, I can recall watching the film as a child in my late Uncle Brian’s (R.I.P.) basement in the ’80s along with my siblings and cousins (if I remember correctly, it was a double feature that also included the original Ghostbusters), and it remains a bittersweet memory for me until this day. Jaws will no doubt continue to endure like this for generations to come.
Jaws wine display spotted at a World Market location in Sanford, FL on 6/17/25 (Photo by Brooke Striewski).
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.
