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.
Admittedly, I should’ve had this review of Tommy Lee Wallace’s book Halloween 3: “Where theHell is Michael Myers?” completed by last October. But to be fair, I didn’t even now the book existed until I actually met Wallace at Spookala 2023 just a few months prior, and even after that it took even more time just to track down a copy (my thoughtful wife actually bought me one for my birthday earlier this year) and then of course actually read it.
But I digress; I’ve always maintained Halloween III: Season of the Witch is not only the best overall film in the Halloween franchise, but also one of the best horror movies of all time. Granted, I could be a bit bias; it was actually the first film in the series I ever saw as a kid after randomly landing on it while flipping through cable channels (the image of Tom Atkins as Dr. Challis casually strolling through a desolate town in the dark of night was the first I recall seeing of the film, and has been forever ingrained in my mind).
So when Writer/Director Wallace stated he had written a book (with a foreward written by the film’s lead Tom Atkins) entirely about the film, it was a downright no-brainer that I’d be reading and reviewing it soon enough. And as a superfan of it, the book is everything you could possibly want on the movie and more.
Wallace leaves no stone(henge) unturned here, detailing every part of the film-making process from initially signing on, re-writes of the script (via both himself and John Carpenter) casting, scouting locations, and any other bumps along the way. There’s even a fun section at the end where Wallace shares original artwork, and a partial section including the film’s original script by Nigel Kneale.
With a recent resurgence in popularity, the film’s lasting effect has been undeniable, making it a fan-favorite on the con circuit these days. This was witnessed more than once firsthand, when Rewind It attended both the previously-mentioned Spookala in 2023, and 2022’s Fantasam Orlando. Not only was there plenty of merch for the eyes to behold and cast and crew meet-and-greets available at each, but a full Halloween III discussion panel featuring Director/Writer Tommy Lee Wallace, Actors Tom Atkins and Stacey Nelkin, and Stuntman/Actor Dick Warlock was dedicated to the film at said Spookala event (see photo below).
Halloween III discussion panel at Spookala 2023 on 6/12/23 with (from left to right) Dick Warlock, Tommy Lee Wallace, Stacey Nelkin, Tom Atkins, and host(photo by Brooke Striewski).
Love it or hate it, there’s no stopping this “little horror film that could,” and just one read of Wallace’s book here is more than enough to convince any reader that Halloween III is here to stay indefinitely.
I really was not anticipating making two separate trips to Tampa to see concerts with the family this past week, but sometimes opportunities present themselves that you’ve just got to run with. And while the previous weekend’s Sammy Hagar show was filled with nonstop rain that found us all drenched to the bone, classic rockers Styx and Foreigner at the MIDFLORIDA Credit Union Amphitheatre this past Saturday, 7/20 was a relatively dry (albeit humid) night in comparison.
Traffic did however cause Brooke, Jacob and I to be late enough to miss the entirety of John Waite’s set, although we could still hear the faint echos of what sounded like a cover of Led Zeppelin’s “Whole Lotta Love” closing out his set on our way into the venue (thankfully I had already seen Waite once before back in 2012).
For as long as I can remember, Foreigner have been an American (and technically also British) institution, and we were ready for the very first notes of opener “Double Vision” on what is likely the band’s “farewell” tour of sorts (dubbed the Renegades & Juke Box Heroes Tour on paper). Classics like “Head Games,” “Cold as Ice,” “Waiting For a Girl Like You,” “Dirty White Boy,” “Feels Like the First Time,” and “Urgent” (which it’s very possible I’ve done at least one of these at karaoke at some point in my life) all filled the evening air.
An admirable drum solo by former Eddie Money, Steve Vai, and Whitesnake drummer Chris Frazier signaled a brief reprieve (although not for the one obnoxious drunk girl directly in front of us – on her feet and dancing the entire show – even during the drum solo! That’s a new one indeed) before the band stormed back with “Juke Box Hero.”
Foreigner getting the crowd primed properly in Tampa, FL on 7/20/24 (Photo by Jesse Striewski).
Lead singer Kelly Hansen brought the crowd to its feet and had them singing along (with the assistance of the Plant High School Chorus behind him to boot) on arguably still one of the greatest power ballads ever written and performed, 1984’s “I Want to Know What Love Is,” before finally ending the night with the classic hard-hitting anthem “Hot Blooded”
Seeing the likes of the previously-mentioned Hansen and Frazier, as well as former Dokken bassist/Rewind It Magazine interviewee Jeff Pilson, all performing these timeless classics on stage together was no doubt a moment in time that I’m glad was not missed. Perhaps the only other thing I would’ve really liked to have seen would’ve been at least a brief appearance from lone original guitarist Mick Jones, but I won’t complain too much after a set as stellar as theirs!
Styx is another one of those bands that have just always been there too, whether at the forefront or in the background, making up the soundtracks of our lives for decades. If memory serves me correctly I’ve danced (or tried to anyway) with at least one girl to one of their songs in my lifetime, most likely at a school function (or was that just an episode of Freaks and Geeks?).
After numerous missed chances to catch the band live over the years, that finally ended once the band took stage with “The Grand Illusion.” Tommy Shaw’s “Too Much Time on My Hands” had the crowd eating out of his before the band slowed things down for 1973’s “Lady,” largely regarded to be the first true rock power ballad of all time.
“Lorelei,” “Crash of the Crown,” “Miss America,” and “Rockin’ in Paradise” all kept the crowd going well enough prior to them finally breaking out the big guns. “Blue Collar Man (Long Nights),” “The Best of Times,” “Fooling Yourself (The Angry Young Man)” and of course, “Come Sail Away” gave the audience the biggest bang for their bucks that night.
After exiting the stage in typical fashion, the band returned for an encore that included the unmistakable “Mr. Roboto” before finally closing it out with “Renegade.” To say all these songs mentioned here have stood the test of time would be a gross understatement; don’t miss the chance to hear them live if you haven’t already at least once in your lifetime (you’ll be hard-pressed to regret it).
The one and only time I was lucky enough to see Van Halen live in Orlando back in 2008 was monumental for me; I knew I was watching total greatness on stage that night, grinning from ear-to-ear from start to finish, especially while watching the late Eddie Van Halen perform his guitar solo. To this day, those concert tickets were one of the best gifts anyone has ever given to me, and I’m forever grateful to have seen such sheer raw talent and brilliance in my lifetime (thanks again, Dad).
Yet I still felt at the time like there was something missing that night. As much respect as I have for Eddie’s talented son Wolfgang, as a bass player at heart, it was the riffs of Michael Anthony from the band’s “classic” lineup that I had actually grown up playing along to, and I couldn’t help but feel a certain sense of disappointment that he was not there that night. And as exciting as a reunion with original frontman David Lee Roth seemed at the time, I’ve always felt Sammy Hagar has been miles above him talent-wise.
So I was of course elated when my wife Brooke actually won tickets last December to the Red Rocker’s show at the MIDFLORIDA Credit Union Amphitheater this past Sunday, July 14. The tour not only features fellow Van Halen alumni Michael Anthony on bass and a VH-heavy set list, but guitar extraordinaire Joe Satriani and drummer Jason Bonham (who Rewind It actually just caught last year with Jason Bonham’s Led Zeppelin Evening at Welcome to Rockville).
Of course our luck would change on the actual day of show, as we battled our way through rain storms to get to the venue on time, only to remain water-logged throughout its entire duration. It was so bad that even openers Loverboy decided not to take part; thankfully the wife and I had already seen them once before back in 2014, though our teenaged son Jacob (who is perpetually playing catch up with us!) was actually looking forward to hearing such classics as “Turn Me Loose” and “When It’s Over” (among many others) for the first time.
But the minute the entrance video featuring various clips throughout Hagar’s five-plus decade long career began to play, all worries went to the wayside (for the most part), and it was time to finally rock. Opening with “Good Enough” from Van Halen’s 5150 album from 1986 was not quite the initial “jolt” one might be hoping for right off the bat, but fortunately numbers like “Poundcake,” “Runaround,” “There’s Only One Way to Rock,” and “Judgement Day” were all admirable follow-ups possible of transporting a person back to a specific time and place almost immediately.
Hagar then surprisingly went into “Panama” from the Roth-era 1984 record before launching in to “5150” and “Summer Nights.” After this Sammy graciously stepped aside to let Anthony sing the lead on “Ain’t Talkin’ ’bout Love” from VH’s classic 1978 debut album (one of the definite highlights of the night for sure).
Longtime bandmates Michael Anthony (left) and Sammy Hagar performing in Tampa, FL on 7/14/24 (Photo By Chuck Davis).
“Top of the World,” “Best of Both Worlds,” the Satriani-lead “Satch Boogie,” and “The Seventh Seal” (the only track played from VH’s last full-length album with Hagar at the lead, 1995’s Balance), all followed prior to performing the iconic “Right Now” – without a doubt one of the biggest rock hits of the early ’90s and a major part of my own youth (the band’s 1991 effort For Unlawful Carnal Knowledge was actually the first album I ever owned on CD).
By the time Sammy and co. got to their fifteenth track of the night, “Why Can’t This Be Love,” we had had more than enough of our share of rain, and decided it was time to hit the exits and call it a night. We could still hear the tracks “Eagles Fly” and “Mas Tequila” as we made our rounds through the venue, but with a two hour trek still to get home, missing hits like “Heavy Metal” and “I Can’t Drive 55” did not feel like such a loss at the time.
Regardless of what songs we may or may not have missed that night, the fact remains we made it through it, and the family and I were able to actually share a night of hearing the music of Van Halen together for once (special thanks to Photographer Chuck Davis for donating a couple of the awesome shots he obtained that night to Rewind It Magazine, too!), making every bit of it worthwhile.
Ever since the moment I first got my hands on a fully intact vinyl copy of KISS’ 1979 Dynasty album via a secondhand find as a teenager, I’ve been a loyal, card-carrying member of the KISS Army. But the one and only time I was able to actually catch the band live back in 2012, I could not help but feel there was still something missing…namely the absence of beloved original guitarist Ace Frehley.
But after the week I had just endured, I wasn’t sure I’d even make it to Frehley’s show at the Hard Rock Live in Orlando, FL on Friday, June 21. It was both my sick wife Brooke, and teenaged son Jacob – who had been too young to see KISS with me all those years ago – that helped each motivate and convince me not to miss the Spaceman again by saying “But you love KISS!” (hard to argue with that logic!).
Local Orlando rockers Sick Dogs were still on stage by the time Jacob and I had arrived that night, and although they put in admirable enough effort, their harder-edged sound seemed slighty “off” for the setting. But the moment Frehley hit the stage with 1977’s “Shock Me,” I knew we had made the right choice to catch Ace (who claimed he was literally just dropped off in a car just moments before taking stage).
The immortal KISS anthem “Shout It Out Loud” followed before Ace dropped a new track, the catchy “Cherry Medicine” (which unfortunately a good portion of the crowd did not seem to care much about at all), but the epic Frehley’s Comet track “Rock Soldiers” from 1987 got everything back on track.
Another KISS classic followed in the form of “Love Gun,” which drummer Scot Coogan (also of L.A. Guns) took over the lead vocal duties for, though not before a slight “mishap” the first go-round as the band stopped the song early in it’s offset to berate the lighting techs for improper placement of the spotlight (I can’t make this up!).
The title track to Frehley’s latest album “10,000 Volts” gave the audience a much-needed jolt of electricity before going into “Parasite.” Then the intro to “God of Thunder” segued into a couple from Frehley’s 1978 solo album in the form of “New York Groove” and “Rip It Up.”
From that point forward it was all KISS classics (“Detroit Rock City,” “Cold Gin,” “Strange Ways,” and Frehley’s self-proclaimed, all-time personal favorite, “Deuce”), instrumental jams, and solos (complete with Ace’s signature smoking guitars, of course) before Ace and company (which also currently consists of guitarist Jeremy Asbrock and bassist Ryan Cook, each of Gene Simmons’ solo band, too) exited stage.
Of course things could not simply end there though; within minutes, the band was back on stage to close things out with arguably one one of the biggest rock anthems of all time, the immortal (albeit overplayed) “Rock and Roll All Nite.” It was the only fitting end cap for a night already full of legendary rock, from one legendary rocker.
One memory from my ’80s childhood has always stuck with me; I was in the garage hanging out with a friend, in mid-conversation with a copy of a book adaptation of 1984’s Ghostbusters in my hand when, I looked up to find a loose neighborhood dog standing at the end of the driveway, snarling in my direction with all of its fury. Instinctively, I threw said book in its direction prior to bolting for the back door before it had a chance to maim either one of us.
That’s just one of many personal Ghostbusters-related stories I can recall. When originally conceived by series creators Dan Aykroyd and Harold Ramis, I doubt they had in mind a franchise consisting of merchandise that ended up in the hands of just about every kid in the decade it was released (nor do I think envisioned said kids using it to fend off stray dogs as frightening as the two “terror dogs” featured in their own film, though I could be wrong).
Directed by Ivan Reitman, the film follows three New York City-based parapsychologists – Dr. Ray Stantz (Aykroyd), Dr. Egon Spengler (Ramis), and Dr. Peter Venkman (Bill Murray, in a role originally intended for John Belushi before his untimely death) – who go into business together catching ghosts and becoming local heroes in the process.
Once business starts really picking up, they’re able to hire both a receptionist named Janine (Annie Potts), and a fourth member, Winston Zeddmore (Ernie Hudson). And the group is further expanded by a love interest for Venkman, Dana Barrett (Sigourney Weaver) and her quirky neighbor Louis Tully (Rick Moranis). From then on, all the pieces to the puzzle seemingly fit together flawlessly on screen before our eyes.
Released the same day as a another massive ’80s hit, Gremlins, Ghostbusters was a bona fide blockbuster, with each of said films eventually reaching iconic status (ironically, I remember my family getting both movies on VHS at the same time, and still have both copies to this very day – one of which now actually signed by a cast member, which I’ll get to shortly) and becoming required viewing in just about every suburban household at the time.
Not long after the film’s release came the animated series The Real Ghostbusters in 1986, and a media franchise of toys, video games, lunchboxes, and nearly anything else one can think of, was officially spawned. An inevitable sequel, simply titled Ghostbusters II, finally appeared in 1989, and while not always looked back on with fondness, the second entry served as another rite of passage of sorts for me when going to see it in the theater, becoming the first film I ever watched completely independently/solo, thanks to the cinema being so full it was impossible to find more than one seat at a time.
After a number of years laying dormant, the series was finally revived in 2016 with an unfortunate reboot that would’ve been best left on the shelf than actually produced. Thankfully, a “proper” sequel finally appeared in the form of 2021’s Ghostbusters: Afterlife, which saw the continuation of original characters (and many returning cast members) and even their ancestors. Another admirable follow-up, Ghostbusters: Frozen Empire, haunted theaters as recently as just this past March.
In 2015, my wife Brooke and I were lucky enough to meet Dr. Stantz himself, Dan Aykroyd, where I had him sign that very VHS tape that sat on top of my family’s entertainment center all those years prior (see photo). While a great moment nonetheless, I only wish I had asked all the questions I would later think of after-the-fact (naturally!).
The author (left) with Ghostbusters actor and writer/co-creator Dan Aykroyd in Orlando, FL on 3/21/15 (Photo by Brooke Striewski).
And then of course there’s the coinciding song that no Ghostbusters conversation is truly complete without. Written and recorded by Ray Parker, Jr., the song was released the same time as the film, and its star-studded music video was also directed by Reitman. In 2022, the family and I got our second, firsthand ghost “encounter” when we saw Parker live at Epcot that October, receiving his biggest reaction of course at the intro to his biggest hit to date.
Ray Parker, Jr. performing “Ghostbusters” at Epcot in Orlando, FL on 10/21/22 (Photo by Brooke Striewski).
Four decades later, we’re still here talking about the franchise with a fondness that few other film series can actually rival. It was a moment of time when American cinema and art was truly at a peak not seen before, or since its release. I will gladly remain stuck in that era of time for the remainder of my days rather than entertain ninety percent of what Hollywood tries passing as “entertainment” these days.
A signed copy by Dan Aykroyd of the original Ghostbusters on VHS from the author’s collection.
Typically Rewind It Magazine have stayed a fairly regional Florida-based publication, covering events everywhere from Daytona Beach to Tampa/St. Pete since the get-go. However, the upcoming Stadium Rock ’80s Festival in Louisville, KY on August 3rd and 4th is an exception we couldn’t pass up! This event features a killer lineup of ’80s acts (many of which we’ve covered over the years) including Florida rockers and our friends Nova Rex. So this unique occasion called for a special write-up (no matter what the distance might be!)!
Hosted by comedian and beloved metalhead Don Jamieson (formerly of That Metal Show), the event was first announce in May, and will coincide in what the major of Louisville has officially declared as “80s Week” from August 1st to 7th. In addition to live music, the festival will also feature everything from ’80s merchandise, fan zones, trivia, classic arcade games, and even a DeLorean straight out of Back to the Future! Below we provide a detailed break down of each act to play over the course of the festival in consecutive order.
Don Jameison (seen here at The Lynn Family Stadium on May 8) of That Metal Show fame will host the upcoming event this August in Louisville, KY.
Nova Rex:
Going strong since 1985, Nova Rex have been bringing the party with them wherever they go for nearly four decades. Anthems like “Bring the House Down Tonight” and “Turn It Up Loud” will no doubt be heard blaring throughout the stadium to kick things off at the massive festival. Check them out on stage, and in their new documentary, Nova Rex: Ain’t Easy Staying Cheesy.
Kenny Wilkerson, Nova Rex bassist/co-founder and star of the film Nova Rex: Ain’t Easy Stayin’ Cheesy, at The Lynn Family Stadium on Wednesday, May 8.
Pretty Boy Floyd:
Good old Pretty Boy Floyd are one of those bands who emerged from the late ’80s that never lets down. And speaking of Nova Rex, I actually saw both bands live for the first time together on the same bill in Daytona Beach back in 2018. Their hits “Rock and Roll (Is Gonna Set the Night on Fire)” and the power ballad “I Wanna Be With You” are enough to get any crowd moving no matter the location.
Enuff Z’Nuff:
One of the many bands playing I have still yet to cross off the old bucket list (though I did manage to catch and even meet former guitarist Tony Fennell – who has served two terms with the band since 2016 – at a When In Rome II show in Orlando back in 2020). Yet, hearing such classics as “New Thing” and “Fly High Michelle” live has still alluded me all of these years (but hopefully not for much longer!).
Trixter:
Hailing from my home state of New Jersey at the tail end of the wave of ’80s metal, Trixter were notable for such infectious hits as “One In A Million” and “Give It To Me Good,” which no doubt the band will soon unleash on Louisville for sure. Just last year I was able to catch bassist P.J. Farely on stage with Fozzy, and if the rest of the band’s energy is anything like his, they surely will not disappoint!
Ron Keel Band:
In my book, Ron Keel and his band Keel were a criminally underrated act at the height of the ’80s heyday, and I’d still love to catch him live in concert some day. I actually revisited the first couple of Keel albums recently, and there’s a lot of great material still to be found within. Audiences can be sure to hear such classics as “Don’t Say You Love Me” and Keel’s version of “Because the Night” over the course of this rocking weekend!
Vixen:
Without a doubt this is one of the most talked-about acts on the bill right now; after recently announcing via their social media platforms that they had parted ways with singer Lorraine Lewis, Vixen are keeping things extremely “hush hush” about who their new “mystery” vocalist might be. But one thing’s for sure, these ladies will have nothing to worry about as long as they maintain the same dedicated level of high energy they did when Rewind It covered them back in 2019!
Vixen performing in Orlando, FL on 10/30/19 (Photo by Brooke Striewski).
John Corabi:
When Motley Crue released their one and only album with John Corabi on vocals in place of Vince Neil in 1994, many fans didn’t quite grasp it at the time…but I was fully there for every minute of it! To this day it remains one of the heaviest albums the Crue have ever put out, and I would love to hear Corabi’s raspy voice singing tracks from both it, and his solo catalog as well. (Side note: if you’ve never actually listened to the self-titled Crue album, start with the track “Hammered;” not only does it feature some of Corabi’s best vocal work ever, but it remains my favorite track from the album to this very day). Aside from his previously-mentioned work with the Crue and solo work, Corabi has also done time with The Scream and Ratt over the years as well (among many others).
L.A. Guns:
What more can be said about L.A. Guns that hasn’t already been said before? Without them, there’d simply be no Guns N’ Roses, and the entire ’80s Sunset Strip scene as a whole might have looked much differently. Earlier this year I was finally able to catch the band live for the first time after many previous missed opportunities, and I can confirm they were definitely worth the wait. Tracks like “Never Enough,” “Rip and Tear,” and “The Ballad of Jayne” are just a few staples of theirs worth noting, and any true fan of ’80s hard rock and heavy metal should try to see the band at least once in their lifetime.
L.A. Guns performing in Mt. Dora, FL on 3/8/24 (Photo by Jacob Striewski).
Aldo Nova:
Here’s one of those unique acts on the bill that often gets overlooked, Aldo Nova. This Canadian guitar virtuoso has been knocking out hits like “Foolin’ Yourself” and “Fantasy” since the early ’80s, and is a must-see for any serious fan of rock guitar. Nova is also an award-winning producer and songwriter who has collaborated with the likes of Blue Oyster Cult to Celine Dion over the years.
Slaughter:
Who wasn’t rocking along to some Slaughter in the late ’80s/early ’90s? It was nearly impossible to escape such anthems as “Up All Night” and “Fly to the Angels,” as well as their track from the 1991 Billand Ted’s Bogus Journey soundtrack, “Shout It Out Loud” (a completely infectious number!). Mark Slaughter and company have been going strong for a long time now, and show no signs of slowing down anytime soon.
Great White:
Another sorely underrated act, Great White have earned second-billing on the festival bill at The Lynn Family Stadium. Largely remembered for their 1989 cover of Ian Hunter’s “Once Bitten, Twice Shy,” the band also has a host of other notable hits in the form of “Save Your Love,” “Rock Me,” and “House of Broken Love” that will surely get fans moving from their seats. I’ve been lucky enough to both see the band live, and even interview former frontman Jack Russell over the years. Definitely make some time for these guys if you haven’t yet by now!
Queensryche:
There’s simply no mistaking the distinctive sound of Queensryche (no matter what era of theirs it might be), nor is there any overlooking the band’s achievements over the years. I’ve been fortunate enough to see the band twice (three times if counting a solo performance by former lead vocalist Geoff Tate just earlier this year) since 2013, even covering the band’s Orlando show for Rewind It back in 2019. From “Queen of the Reich,” “Jet City Woman,” and “I Don’t Believe in Love,” to the timeless power ballad “Silent Lucidity,” there is no shortage of epic music to be heard at any given Queensryche show; don’t pass this one up if you haven’t already seen them before!
Queensryche performing in Orlando, FL on 3/2/19 (Photo by Brooke Striewski).
To wrap things up, The Lynn Family Stadium is a state-of-the-art venue primarily used for sporting events. Opened in 2020, it serves as the home for the Louisville City FC and Racing Louisville FC. The stadium boasts a seating capacity of over 15,000 and features modern amenities, including premium seating options, hospitality suites, and a fan-friendly design. Its central location and advanced facilities make it a prime destination for sports events and concerts, and is located at 350 Adams St., Louisville, Ky. USA.
There’s a certain amount of pros versus cons that have to be weighed when factoring in an extensive, four-day music festival such as Welcome to Rockville. On the one hand, you’re getting in a LOT of your favorite bands in a very short span of time. But on the other hand, you’re also getting much shorter set lists, and dealing with WAY more obnoxious, drunken fools than you would on any other given normal day of the week (such a blast I’ll tell ya).
It’s a definite take-the-good-with-the-bad type of situation to say the least. But for better or worse, I bit the bullet, taking my son Jacob once again to catch up on many of the bands I’ve already seen over the years, but he had yet to have the chance to catch live himself (my wife Brooke wisely decided to sit most of it out, only attending the first night at the Daytona International Speedway on Thursday, May 9). Said first day was one for the books indeed, and I will try to recall as much of the massive festival as I possibly can here, from start to finish.
DAY 1:
The very first band we caught while walking up on the very first day was Saliva, and we could hear the sounds of their generic 2000 hit “Click Click Boom” (thankfully) ending just as we entered the gates. Luckily ’90s rockers Stabbing Westward were up directly afterwards, although something seemed slightly “off” since the last time I saw them back in 2019 (namely some lineup changes that now included the lack of a bass player). After catching a few tracks in the form of “Falls Apart,” “The Thing I Hate,” and “I Don’t Believe,” it was already on to the next band, which at that point was Flyleaf w/ Lacy Sturm.
I can’t say I’ve ever really sat down and listened to Flyleaf a single day of my life, but there was no denying frontwoman Sturm had a certain presence (not to mention cuteness) to her. After a few minutes of the chaos that is Shadows Fall (a little closer up my ally with songs like “King of Nothing” and “Still I Rise”), Christian rockers Skillet blasted through several of their admirable well-known anthems like “Feel Invincible,” “Rise,” “Surviving the Game,” “Awake and Alive,” and “Hero,” it was time to catch one of the biggest draws of the entire festival for me…Max Cavalera and Soulfly.
I had seen his former band Sepultura a couple of times previously (most recently at last year’s Welcome to Rockville), but never with frontman Cavalera at the helm. So it was a blast finally hearing such epic tracks as “Bleed,” “Refuse/Resist,” “Jumpdafuckup,” and “Eye for an Eye” with Cavalera’s distinct voice over them (along with his son Zyon behind him on the drumkit to boot).
Max Cavalera and Soulfly on stage on Thursday, May 9 (Photo by Jesse Striewski).
Next up was an even bigger favorite for me; Anthrax. I’ve seen them a handful of times prior as well (seems like each time with a different lineup), but this time bassist/former Rewind It interviewee Frank Bello was unable to attend, so the band enlisted none other than original bassist Dan Liker (also of S.O.D. and Nuclear Assault, among many others) to fill in for him on this tour for the first time in four decades.
I instantly felt like I was watching metal history as the opening notes of “Among the Living” kicked in and the guys absolutely slayed the stage! “Caught in a Mosh,” “Madhouse,” “Metal Thrashing Mad” (finally something off the first album live!), “Antisocial,” “A.I.R.,” “Got the Time,” and “Indians” all felt new again (no disrespect to Bello of course).
Metal legendsAnthrax performing with original bassist Dan Liker for the first time in four decades on 5/9/24 (Photo by Jesse Striewski).
A few more acts more in line with my son’s tastes than my own in the form of August Burns Red, Mudvayne, and Biohazard all followed before the mighty Judas Priest, who it had been nearly twenty years since the last time I saw them all the way back at Ozzfest in 2004 (not counting catching spinoff act KK’s Priest earlier this year). There just felt like there was something missing this time though unfortunately without both KK Downing and Glen Tipton handling guitar duties.
New tracks and classics alike in the form of “Panic Attack,” “You’ve Got Another Thing Comin’,” “Rapid Fire,” “Breaking the Law,” “Lighting Strike,” “Love Bites,” “Sinner,” and even “Turbo Lover” (a nice welcomed addition that I don’t recall them playing back in ’04) were all heard before we were heading to the next act…Insane Clown Posse (which proved to be a mammoth mistake).
The sound during ICP’s set was beyond comprehension, and it was hard to even distinguish whether it was intentionally done, or just a major foul up (either way it was terrible). Needless to say it didn’t take us long to move on to the next one again.
And that next one this time was Disturbed. Those who know me know that I’ve never claimed to be a big nu metal fan by any means, but there are some bands in the genre I can tolerate more than others, with Disturbed no doubt being one of them. Opening with “Hey You,” the band must’ve been suffering from similar technical difficulties as ICP (though not quite as bad) as chants of “Fix the Sound!” could be clearly heard throughout the Speedway. But that didn’t stop the band from going through numbers like “Stupify,” Ten Thousand Fists,” “Prayer,” “Bad Man,” a cover of Genesis’ “Land of Confusion,” and “The Game.” But their cover of Simon and Garfunkel’s “The Sound of Silence” seemed like the perfect time to head on to the next act.
Enter Kerry King of Slayer, a man I’ve seen and even photographed on stage on more than one occasion over the years. After the two sub-par sets we had just witnessed, it was a total breath of fresh air of metal for sure. Hearing the 1986 classic “Raining Blood” live again, and new tracks like “From Hell I Rise” (all being sung by Death Angel vocalist Mark Osegueda and with former Machine Head guitarist Phil Demmel in tow as well, which were added bonuses for sure) was completely worthwhile.
Legendary Slayer guitarist Kerry King and his current “supergroup” that also includes Death Angel’s Mark Osegueda and ex-Machine Head guitarist Phil Demmelon Thursday, 5/9/24 (Photo by JesseStriewski).
It was while transferring from one stage to the next again that I could see Disturbed were not only still on, but had invited a female guest singer on stage with them. I would later come to find out that guest was none other than Ann Wilson of Heart Fame (the two parties share vocal duties on the track “Don’t Tell Me”); it was a moment I wish we had been fully aware was happening, though I’m still glad we witnessed what little of it that we actually did.
And finally, Motley Crue. There was a time when I genuinely loved Motley Crue, but unfortunately they have not aged all that gracefully. With this latest appearance, I’ve now seen them a total of four times since 2005, and it feels as though they are merely climbing further and further downhill (taking original guitarist Mick Mars out of the equation in favor of John 5 was not necessarily the right move for them, either).
After kicking things off with a rather embarrassing “Breaking News” segment, the band opened their set decently enough with a somewhat strong version of their 1991 single “Primal Scream.” But from then on, it was merely more of the same old situation (if you’ve seen Motley Crue once, you’ve seen them more than enough times) that included “Too Fast For Love,” “Wild Side,” “Shout at the Devil,” “Live Wire,” and “On with the Show.” By the time the guys got to “new” track “Dogs of War,” it felt like more than a signal to finally call it a night.
Motley Crue closing out the first night of Welcome to Rockville on Thursday, 5/9/24 (Photo By Jesse Striewski).
Day 2:
The second day day of the festival was admittedly the least interesting one to me. The first act Jacob and I would catch on this day was ’90s female rockers Kittie, who I can’t say I was ever really a fan of, though there was a small amount of curiosity to hear how tracks like “Brackish” would sound firsthand.
After that, there was a bit of downtime before the next band of interest, Russian deathcore act Slaughter to Prevail, was on. I had only really given their music a spin once or twice in the past (unlike my kid, a noted fan), but there was no denying the amount of energy they threw down. After them, it was on to the sounds of ’90s punks The Offspring (my third time seeing them live since 2009).
I’ve always held a small spot in my heart for The Offspring, although their views boarder on idiocy to me, and the unceremonious dismissals of both founding bassist Greg K and former drummer Pete Parada (the latter of which apparently getting the boot over not wanting to get vaccinated – again, sheer idiocy) were downright lame in my book. Still, there’s no denying the catchy-ness of songs like “Come Out and Play,” “All I Want,” “Want You Bad,” “Staring at the Sun,” “In the Hall of the Mountain King,” “Blitzkrieg Bop” (one of at least three bands to cover the overplayed Ramones anthem at Rockville this year), “Bad Habbit,” “Gotta Get Away,” “Why Don’t You Get a Job?,” “(Can’t Get My) Head Around You,” “Pretty Fly (for a White Guy),” and “The Kids Aren’t Alright.”
The Offspring performing at Welcome to Rockville on Friday, 5/10/24 (Photo By Jesse Striewski).
Next up were Falling in Reverse, and although former Escape the Fate frontman Ronnie Radke still maintains the same energy he did back when I first saw the band at Earthday Birthday in 2011, something just feels “missing” now. Whether it’s the numerous lineup changes since then, or the quality of the music itself that has since been released, it’s not as thrilling of an act as it might have once been. Still, there was no denying the crowd was eating up tracks like “Zombified,” “I’m Not a Vampire,” “Losing My Mind,” “Fuck You and All Your Friends,” “The Drug in Me Is You,” “Just Like You,” “Popular Monster,” “Voices in My Head,” “Ronald,” and “Watch the World Burn.”
It had been quite awhile since I last saw Faith No More frontman Mike Patton live on stage with the short-lived Tomahawk back in 2002, and I was really looking forward to hearing the legendary singer on stage again with an act as eclectic as Mr. Bungle. Although the band is not for everyone’s tastes, is was still a trip watching Patton belt out the likes of “Hell Awaits,” “True,” and “You Lose” (among many others) alongside former FNM bandmate Trey Spruance, Anthrax guitarist Scott Ian, and original Slayer drummer Dave Lombardo.
Next up was singer/rapper Jelly Roll, who back when we first attended Rockville the first time in 2021 was one of the lower tier acts there (though I don’t recall actually seeing him at that time), but has since blown up to full headliner status. A cover of Toby Keith’s “Should’ve Been a Cowboy” was the first song I could hear emanating through the speakers while walking up. If for nothing more than sheer curiosity, we stuck it out long enough to hear tracks/hits like “Smoking Section,” “Same Asshole,” “The Hate Goes On,” “Bottle of Mary Jane,” “Dead Man Walking,” “Son of a Sinner,” and “Need a Favor” before going over to the last stage of the night for (I can’t believe I’m even saying it) Limp Bizkit.
Let me first start by saying I was never, not once a Limp Bizkit fan, ever (in fact, you might say I was even a “hater” back when they first emerged on the scene). But for whatever reason my kid is a fan, so I endured their set, all the way from the opening of “Break Stuff” to a cover of Riff Raff’s “Tip Toe Wing In My Jawwdinz” (can’t say I know that one!) with rapper Riff Raff himself. Even Jelly Roll made another appearance to help the band out on their cover of The Who’s “Behind Blue Eyes.” I still can’t say I’m a fan, but after seeing them live, I can see how some might find Fred Durst and company entertaining now.
Day 3:
Saturday the 11th was definitely another day for the books. We arrived just in time to catch the very last song of Mammoth WVH’s (former Van Halen bassist and the son of the late Eddie Van Halen’s project) final song. But it was okay considering he would make another appearance later on in the day (stay tuned).
Stone Temple Pilots are one of those ’90s bands that have alluded me for many years now (though I was lucky enough to catch late singer Scott Weiland live on stage with Velvet Revolver in both 2005 and 2007). Even without Weiland there, his presence could still be felt as songs like “Wicked Garden,” “Big Bang Baby,” “Vaseline,” “Crackerman,” “Big Empty,” “Plush,” “Interstate Love Song,” “Trippin’ on a Hole in a Paper Heart,” and “Sex Type Thing” all echoed through the air that afternoon.
Primus were up next, and significantly more entertaining than the first time I saw them open for Tool back in 2016 (I knew it was a good sign as I walked up to the sounds of “Sgt. Baker” – my personal favorite by them – being played). More gems like “Here Come the Bastards,” “Wynona’s Big Brown Beaver,” and “American Life” could be heard before it was time to move on to the next stage already.
Les Claypool and Primus rock Rockville on Saturday, 5/11/24 (Photo by Jesse Striewski).
Helmet are another one of those bands I can’t say I ever really got that into either, and the one and only time I saw them prior (back at the 2006 Warped Tour), they didn’t really leave much of an impression. The only noticeable difference I can recall between the two shows was that they actually played the track “Milquetoast” (from 1994’s The Crow soundtrack) this time around.
Same goes for the next act, A Day to Remember. While I’ve seen them a couple of times previously as well, nothing has really left that big of an impression on me. One could of course hear such “hits” of theirs that day, including “The Downfall of us All” and “All I Want,” for better or worse. Still, it was no worse than catching a glimpse of L7’s set, which had to be the most unappealing act of the entire festival, and I don’t recall seeing a single smiling face between the group or the crowd.
The next band Greta Van Fleet seemed like a talented enough bunch with their throwback sound to ’70s rock, though can’t say I’ve ever given their music much mind, either. But as if L7 weren’t unappealing enough, Queens of the Stone Age had to be the most boring act of them all (and I actually don’t mind some of the material frontman Josh Homme has been a part of as a member of Kyuss). Tracks like “Little Sister” and “Go with the Flow” had me wanting to go somewhere else indeed.
Finally, the mighty Foo Fighters took the stage, and I had finally felt like I had come full circle seeing a member of Nirvana live in the form of frontman Dave Grohl (not to mention touring guitarist Pat Smear, also known for his time with ’70s punks the Germs, among others). Aiding them behind the drumkit now in place of the late Taylor Hawkins was also Josh Freese of The Vandals, Nine Inch Nails, and Guns N’ Roses (just to name a few).
I had not actually planned to stay the entirety of their two-hour set that night, but circumstances out of my control kept me there until the very last note of the very last song, which in hindsight I’m actually glad I did despite my exhaustion. The band started off with a strong start in the form of “All My Life,” “No Son of Mine,” “Rescued,” “The Pretender,” “Times Like These,” “La Dee Day,” “Breakout,” “Medicine at Midnight,” and “Walk.”
The most interesting moments of the evening however came when some guitar and keyboard solos lead to the band goofing around and just having a good time. First via the Beastie Boys’ “Sabatage,” then some individual moments; Pat Smear returning to his punk rock roots via “Blitzkreig Bop” (again with that song!) and Josh Freese pounding out some Nine Inch Nails beats via “March of the Pigs.” But the best moment of them all came when Grohl tricked his audience into believing he was playing Van Halen’s “Eruption,” only for it to be revealed it was actually Wolfgang Van Halen behind the scenes throwing down his father’s old riffs (a little bit of “Hot For Teacher” was then played for good measure, too).
Wolfgang Van Halen makes a surprise appearance mid-way through the Foo Fighters’ set on 5/11/24 to play some classic Van Halen riffs(Photo by Jesse Striewski).
After finishing the shenanigans, the band got back to business with “My Hero,” “The Sky is a Neighborhood,” “Learn to Fly,” “Arlandria,” “These Days,” “Shame Shame,” “All My Life,” “Nothing at All,” “The Glass,” “Monkey Wrench,” “Aurora,” “Best of You,” “The Teacher,” and “Everlong” (and it was at that moment, watching my son skip off hand and hand with his girlfriend to be up close, that I knew every minute of this festival was worth it).
Day 4:
By the fourth and final day (coincidentally, Mother’s Day), I was ready for a long reprieve to say the least. But we soldiered on as true warriors of rock (because what else can we do?), and made it in time for former Skid Row frontman Sebastian Bach’s set. The first time I had ever seen Bach all the way back in 2006, my son was only about six months old at the time. So to finally have him share in on these songs like “18 & Life” some eighteen years later, was an especially cool moment for me as a father (ironically Bach’s son is now behind the drums in his father’s band much like Soulfly, too).
Opening “Bachville” (as he so dubbed it himself) with his latest track “What Have I Got to Lose?,” he quickly belted out the classics with “Slave to the Grind” (which found Bach and company briefly segwaying into Rush’s “Tom Sawyer,” too), “Here I Am,” “18 & Life,” “Monkey Business,” “I Remember You,” and “Youth Gone Wild.”
A couple more on my son’s list of bands to see, Wage War and Enter Shikari, were up next before we made it over to see one of the very first bands I ever saw at a music festival (at the 1997 Ozzfest), Fear Factory. A lot has unfortunately changed within their personal too since then though, but it was still a blast from the past to hear the likes of “Demanufacture” again. The next act (Atreyu) was another one I’ve seen several times in the past (most recently in 2010), but due to numerous inner changes their music just doesn’t hit the same anymore as it once did (songs like “Right Side of the Bed” and “Ex’s and Oh’s” just don’t have the same effect without ex-singer Alex Varkatzas screaming on them).
Sum 41 rock Daytona for possibly their last time ever on 5/12/24 as part of their final tour (Photo by Jesse Striewski).
About one or two songs each (about all that was needed) for Breaking Benjamin and Black Veil Brides followed before catching Sum 41 for their “final” tour. Another band I caught once upon a time at my first Vans Warped Tour back in 2001 (then once more in 2009, ironically with The Offspring), it may have been somewhat tolerable hearing tracks like “Motivation” and “The Hell Song” live one more time had it not been for the hordes of people clamoring to catch one last glimpse of them.
And then there’s Evanescence, a band I once saw at the height of their prime back in 2004, and another band that has gone through their own share of changes since then. But one thing is for certain, the voice of lead singer Amy Lee has not changed one bit, and is as strong as ever on tracks like “Going Under,” “Better Without You,” “Call Me When You’re Sober,” “Imaginary,” “Use My Voice,” and “Bring Me to Life” (their closer, which sounded odd this time without the “rapping” segment actually done right this time).
Amy Lee and Evanescence perform on the final night of Rockville on Sunday, 5/12/24 (Photo By Jacob Striewski).
By the time Slipknot hit the stage (this time wearing “throwback” masks from the late ’90s), I was ready to call it a night/weekend/all of the above. “(515),” “People = Shit,” “Eyeless,” “Disasterpiece,” “Custer,” and “Psychosocial” were more than enough to hear before doing just that, finally. I can’t say for certain whether or not this might be my last major music festival like this (this old man is definitely starting to feel his age for sure), but should it be, I’d say it was a high enough note to go out on.
My appreciation for Queensryche has grown exceptionally over the past decade or so, with wife/photographer Brooke Striewski having covered two of their shows together over the years (the first one actually being one of the very first concerts we ever went to together back in 2013 while we were still just dating), and even interviewing former frontman Geoff Tate for Rewind ItMagazine back in 2021.
Yet something always felt like it was still missing to us, having heard the songs live, but without that original voice on top of them (and no offense to current Queensryche vocalist Todd La Torre, who is an admirable singer in his own right). That finally changed this past leap day, Thursday February 29 at the Peabody Auditorium, where Tate was headlining with his solo band, and former Whitesnake guitarist Adrian Vandenberg and his band Vandenberg as the opening act.
I’m not quite sure who I was more excited to see at the offset honestly, but the minute Vandenberg hit the stage, I was instantly glad we had made it to this show (Whitesnake is another act that has unfortunately alluded me for years now, though I have caught several other members of the band elsewhere over the years, including former guitarist Warren DeMartini of Ratt, and the band’s current guitarist Joel Hoekstra while with Night Ranger).
Former Whitesnake guitarist Adrian Vandenberg “kicked” things off at the Peabody Auditorium in Daytona Beach, FL last Thursday, February 29.
They did not disappoint one bit, either. After an intro that included both part of a Beethoven piece of music and the theme from Jaws, the group (which also currently includes former Candlemass vocalist/Swedish singer Mats Leven at front and center) launched into high gear with “Hit the Ground Running.”
An onslaught of both Whitesnake classics and Vandenberg numbers then followed in the form of “Fool For Your Loving,” “1982,” “Give Me All Your Love,” “Freight Train,” “Sailing Ships,” “Judgment Day,” “Crying in the Rain,” “Burning Heart,” and “Still of the Night” before ending things on the highest of notes possible with the timeless 1987 Whitesnake hit, “Here I Go Again.”
One-time Candlemassfrontman Mats Leven on stage with Vandenberg last Thursday evening.
Finally, things came full circle once ex-Queensryche frontman, the unmistakable Geoff Tate took the stage as the main event, opening strong with the classic “Empire,” though I could’ve thought of at least a dozen other tracks I would’ve rather heard in place of both follow-ups “Desert Dance” and “I Am I” (not to knock ’em too much, though). Thankfully, “The Thin Line,” “Operation: Mindcrime,” and “Breaking the Silence” helped push things further back in the right direction.
As soon as the opening notes of the guitar intro to “I Don’t Believe in Love” took effect, the crowd was fully invested once more. But the next number from Queensryche’s debut album The Warning, would’ve been much more welcomed had it been a slightly better track from said album instead of “NM156” (for instance, the track “Warning” itself – a much more solid effort – though I must admit I’m a tad bias).
Guitarist Dario Parente (left) and Geoff Tate performing at the Peabody in Daytona on 2/29/24.
A couple of songs from 1986’s stellar Rage For Order album followed in the form of “Screaming in Digital” and “Walk in the Shadows” (the latter one of my personal favorites), before “Another Rainy Night (Without You),” “Jet City Woman,” and the 1990 power ballad/Queensryche swan swong “Silent Lucidity’ seemingly closed things out for the night.
But the band were not quite done just yet, as Tate and company soon returned to the stage for a cover of Pink Flyod’s “Welcome to the Machine,” followed by a couple of older classics in the form of “Take Hold of the Flame” and “Queen of the Reich” officially closing out the night. All in all, the evening was the perfect double-dose of old school rock and metal that we – and if I had to guess, everyone else in attendance that night – needed.
Geoff Tate and band on stage in Daytona Beach, FL last Thursday, February 29.
I can recall the first time I ever watched 2004’s Napoleon Dynamite some two decades ago, with its subtle, off-the-wall humor striking a nerve with me instantly. I’ve since shown the now-cult classic to both my wife Brooke and son Jacob, who equally appreciate it for the unique moment in time that it was. So catching a twentieth anniversary showing of the film, with the presence of such core cast members as Efren Ramirez (Pedro Sanchez), John Gries (Uncle Rico), and Napoleon Dynamite himself, Jon Heder, at The Plaze Live in Orlando last Wednesday, February 21, was a no-brainer for all of us.
The evening started off promising enough; plenty of fans in attendance had on their best attire, with fanny packs, side pony-tails, and “Vote for Pedro” shirts in abundance. It was near-impossible to not feel the excitement flowing throughout the venue prior to the film, and the applause was infectious by the time the opening credits rolled.
For those who have never seen it before, Napoleon Dynamite follows the day-to-day life of a geeky high school student (Heder as the titular character, as previously noted), who navigates through everything from dating, to assisting his new classmate and friend Pedro (Ramirez) run for class president against the popular school cheerleader, Summer Wheatly (Haylie Duff).
Whether or not the film is “flawless” is no doubt debatable, but nonetheless it certainly draws its viewers into its story, making for sheer escapist entertainment. The ending shot alone of Napoleon and Deb (Tina Majorino) “riding off into the sunset” of sorts while playing tetherball together with the 1989 When in Rome hit “The Promise” closing the scene out is one of pure movie perfection (it should also be noted, the song itself has since become significant to my wife and I, having both heard it live and interviewed When In Rome Keyboardist Michael Floreal on our anniversary in January of 2020).
Jon Heder (a.k.a. Napoleon Dynamite) in the midst of the crowd last Wednesday evening, 2/21/24 at The Plaza Live in Orlando, FL.
Immediately following the showing, Gries and Ramriez appeared on stage with a guitar and harmonica, respectively, in hand for a musical number, before Heder barreled down a ramp towards the stage on a bike, igniting a roar from the crowd. It was right then and there that you knew you were in the right place if you were in attendance.
Heder was no doubt the leader of the pack, while Ramierz took more of a laid back, backseat approach, and Gries played the more goofy old man role (having grown up watching many of his films back in the day such as ’80s gems like 1985’s Real Genius and 1986’s TerrorVision, I may have been in awe of him more so than any others).
Aside from the occasional awkward question from a fan or two (the fairly obnoxious mom-out-way-past-her-bedtime heckler had obviously not been out in public in awhile), the Q&A with the crowd went fairly smooth, with many an enlightened answer regarding the films production. And bringing those dressed in their very best Napoleon Dynamite-inspired gear on to the stage at the end for a best-dressed contest (and even giving everyone a tater tot on their way out!) was the perfect cherry on top to the evening.
The cast of Napoleon Dynamite (from left to right, Efren Ramirez, Jon Heder, and John Gries) performing at the start of the night at The Plaza Live in Orlando, FL on 2/21/24.
