Photos By Brooke Striewski

If ever there were a band that I could (or perhaps more accurately, should) personally thank for my love and obsession of ’80s heavy metal, it’d be W.A.S.P., who are easily up there alongside the likes of such other personal favorites as Iron Maiden and Megadeth (among others).

Earlier on at the start of my initial trek into rock journalism, W.A.S.P. founder/leader Blackie Lawless was one of the very first interviews I ever conducted back in 2010. Shortly afterwards, I was able to cover their Orlando show at then-Club Firestone in March of that same year for one of my first (and personal favorite) concert reviews.

So when I learned Blackie and co. were heading back to O-Town with fellow metal legends Armored Saint in tow on Sunday, November 24, I knew it was a show not to be missed. Significantly different for me this time around though was having my wife/Photographer Brooke by my side to shoot this one, as well as my teenaged son Jacob, who was far too young that first time around to see them (the only noticeable difference as far as the band itself goes is of course the drummer position since going from Mike Dupke to former Di’Anno/DragonForce member Aquiles Priester).

Openers Armored Saint have been on my list of bands to see longer than I can even remember now, with frontman and former Anthrax (another personal favorite) singer John Bush being another reason for this (over the years I’ve actually managed to catch Anthrax live a solid four times, though never with Bush at the helm). And despite having been some time since I last really sat down and took notice of their music, I was instantly propelled back in love with their material.

Armored Saint (and former Anthrax) frontman John Bush performing at The Plaza Live in Orlando, FL on Sunday, November 24 (Photo by Brooke Striewski).

After a backing track of Judas Priest’s “Delivering the Goods” introduced the band to the stage, they quickly gained the attention of the sold-out crowd, ironically with “End of the Attention Span.” “Raising Fear,” “The Pillar,” and “Pay Dirt” all lead up to the title track of their 1984 debut album, “March of the Saint.”

“Left Hook From Right Field,” “Aftermath,” and “Win Hands Down” all kept the momentum going before Bush took to the balcony (complete with security in tow) to deliver their timeless hit, “Can U Deliver.” The band dropped one more heavy-hitter in the form of “Reign of Fire” prior to taking their final bows and handing the stage over to W.A.S.P.

Armored Saint drummer Gonzo Sandoval raises his sticks high in appreciation to the sold-out crowd at The Plaza Live in Orlando, FL on Sunday, November 24 (Photo by Brooke Striewski).

In their entire four-decade plus of existence, W.A.S.P. have apparently never opened a show with their fist-pumping 1984 anthem “I Wanna Be Somebody.” But being that this tour (dubbed “Album One Alive”) is a celebration of the foretith anniversary of their self-titled debut, that has all changed with the band performing all ten tracks from it in chronological order.

Of course if you already know that album, you’re already aware this was followed by “L.O.V.E. Machine,” “The Flame,” “B.A.D.,” and “School Daze” rounding out the first side. But I’ve personally always been partial to side two tracks such as “Hellion,” “Sleeping (In the Fire),” “On Your Knees” (the band’s usual show-opener, and first track they played way back at that 2010 show), “Tormentor” (complete with footage from the band’s appearance in the 1984 film The Dungeonmaster rolling behind them), and album closer “The Torture Never Stops” (which featured some of the oddest footage in recent memory playing for it).

After a brief reprieve, the band re-emerged with a circus-themed stage setup and a recording of “The Big Welcome” prior to launching into a medley of “Inside the Electric Circus/I Don’t Need No Doctor/Scream Until You Like It” before belting out their cover of The Who’s “The Real Me.” The 1989 power ballad “Forever Free” then preceded the darker epic “The Headless Children” before the band closed out the night with the one-two punch of 1985’s “Wild Child” and “Blind in Texas.”

W.A.S.P. frontman/leader Blackie Lawless in command of the stage at The Plaza Live in Orlando, FL on 11/24/24 (Photo by Brooke Striewski).

While I understand the demand for the band’s earlier, most well-known material, and that this tour is a total celebration of just that as stated earlier. But if I’m being totally honest, there’s so much more underrated material from them that I’d rather love to hear live. No doubt the chances of hearing something along the lines of “Take Me Up” or “Asylum #9” (for example) live is highly unlikely, that doesn’t change the fact that I’d still personally love to hear them performed (even something from The Idol – which I was lucky enough to hear them play tracks from, as well as the Dominator and Babylon albums that first time all those years ago – would’ve been nice to have heard something from).

But personal preferences aside, there’s no denying that Lawless and company completely dominated that stage last Sunday night, and I’d have a hard time believing any one in attendance that night would actually argue otherwise. These days I’m typically more reserved and focusing on critiquing the shows I’m at, but every once in awhile a band will get me raising a fist in the air and screaming every lyric out from start to finish; that band to get that type of reaction out of me again was without a doubt W.A.S.P.

Napoleon Dynamite 20th Anniversary Live at The Plaza Live in Orlando, FL on 2/21/24 By Jesse Striewski/Photos By Jacob Striewski

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.

Film Review: Dio: Dreamers Never Die (BMG)

By: Jesse Striewski

I’m sure I’ve probably mentioned this a time or two before, but one of the biggest personal regrets I have is not catching the late, great Ronnie James Dio in concert before his death in 2010 (the closest I ever came was a 2019 Dio Returns show, where several former members of the Dio band paid tribute to their former singer while using live backing tracks of Ronnie behind them, along with a hologram of him). The recent documentary Dio: Dreamers Never Die certainly helps confirm this regret.

Spanning his entire life and career, the film covers every aspect of his time in rock music. From Elf to Rainbow, to Black Sabbath to Dio, there’s no shortage of story to tell. And featuring interviews and insight from fellow personalities and rockers like Rob Halford, Eddie Trunk, Lita Ford, and Jack Black, as well as former wife Wendy Dio, and a host of many of Ronnie’s former bandmates.

“The Man on the Silver Mountain,” “Heaven and Hell,” “We Rock,” “Holy Diver,” “Rainbow in the Dark,” “The Last in Line,” and “Rock and Roll Children” are just a few of the titles Dio gifted us during his time on this Earth, and remain unmistakable classics to this day. The origins to many of these tracks are meticulously covered in great detail, among many others.

But of course, there’s only one way Dio’s life story can possibly end…with his unfortunate death. The results are some of the most tear-jerking moments compiled on film in recent memory (no doubt enough to make a grown man such as myself shed a tear or two). But that just stands to reason the true testament of Ronnie James Dio; every bit of praise is not only accurate, but deserved. He left behind a legacy that most artists today could only dream of ever having, and those of us who knew his music, understood his deep impact and worth.

Shot from the Dio Returns show Rewind It Magazine covered at The Plaza Live on 6/2/19. Photo by Brooke Striewski.

Shot from the Dio Returns show Rewind It Magazine covered at The Plaza Live in Orlando, FL on 6/2/19. Photo by Brooke Striewski.

Rating: 5/5 Stars

Bruce Dickinson at The Plaza Live in Orlando, FL on 1/18/22 By Jesse Striewski/Photos By Brooke Striewski

Some bands and musicians I will never tire of no matter how old I get; Iron Maiden is one of those bands. Each and every time I revisit their catalog, I’m instantly transported back to being that fifteen year old kid, still trying in earnest to figure out any and every Steve Harris bassline I could in my old bedroom. And when I finally saw the band live in 2011 after years of admiration, I must have had the most visibly dopey smile around that night as I sat in the audience in complete awe.

So it didn’t take much to get me through the door at The Plaza Live for frontman Bruce Dickinson’s Orlando stop on his new spoken word tour, which just kicked off this week here in Florida. While worlds away from a Maiden or even solo performance, the charismatic singer spent the evening going through both his professional and personal life experiences with enough energy and one-liners to rival just about any stand up comedian.

Beginning with his early life and leading up to his joining bands like Shots and Samson during his college years, he eventually lead up to his induction into Iron Maiden and many of the adventures that naturally came with it, using slides along the way like a professor teaching his course. Of course he also discussed his career as an airline pilot and battle with cancer as well. But don’t expect to hear much singing at these shows; aside from brief a cappella lines from “Run to the Hills” and The Beatles’ “Let It Be” weaved within his storytelling, there was not a whole lot of it to be found.

After a brief intermission, where the video for the latest Maiden single, “The Writing on the Wall,” was displayed, Dickinson returned to answer questions from fans who turned in handwritten cards handed out before the show. This lead to some of the night’s most comical moments, with one particular, KISS vs. Slade inquiry posed from a Liverpool fan being one of the highlights.

I could see this perhaps not going over too well for a mere casual observer. But for a die hard fan, it was just the right amount of history (although I must confess, I was already familiar with many of his stories, having already read his autobiography). Dickinson has no doubt lead a fascinating life, and if you’re able to go in with an open mind, you might just be glad you did.

Dio Returns at The Plaza Live in Orlando, FL on 6/1/19 By Jesse Striewski/Photos By Brooke Striewski

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Ever since the Dio Returns tour had first been announced there’s been an abundance of backlash from some fans calling it a ‘cash grab’ (I’d almost guarantee most of those complaining are the same people who went to see Bohemian Rhapsody when it came out last year, too). You can write tours like this off as such (it should also be noted that some of the profits from the tour are allegedly going towards the Ronnie James Dio Stand Up and Shout Cancer Fund), or you can look at them the way I do; tributes meant to keep the memories alive of legends who rightfully deserve it. Ronnie James Dio was one such icon who I grew up admiring dearly, and unfortunately I was never able to see him perform live before his passing in 2010. The Dio Returns tour gives all those who never saw him the chance to finally experience his music live (and the last time I can remember looking forward to a tour as much as this much was probably when I caught the original lineup of one of Ronnie’s former bands, Black Sabbath, back in 2004).

Essentially, the band itself is one of two current versions of the Dio band that has been going for nearly ten years now (the other being Last in Line, with Vivian Campbell and Vinnie Appice at the helm) called Dio Disciples. This version of the band (which features Dio alumni Craig Goldy, Simon Wright, and Scott Warren) has been performing for years with multiple singers in place of Ronnie, including ex-Judas Priest/Iced Earth vocalist Tim “Ripper” Owens, and former Lynch Mob singer Oni Logan, who were both there trading off vocal duties (along with live recordings of Ronnie when his hologram was present) when the band came through The Plaza Live in Orlando this past Saturday, June 1.

Jizzy Pearl’s current incarnation of Love/Hate opened the show, and I was actually looking forward to finally catching Pearl live as well after interviewing him for Rewind It Magazine just last year (I found it strange however that none of the material from Pearl’s recent album that I interviewed him for made it into the set list). At this point, the club was still fairly empty, and the band received only a modest response. But still, they played with all their might on tracks like “Straightjacket,” “Tumbleweed,” “Spinning Wheel,” “Fuel to Run,” “Mary Jane,” and “Wasted in America.” A seemingly set up (and awkward) moment found the band being told to leave the stage before declaring they were doing one more song, which ended up being “Blackout in the Red Room.”

After Pearl’s set, there was a sort of calm before the storm as the crowd sat anxiously to finally see what awaited them (this was only the second night of the tour, after all). It was quickly revealed as Ronnie’s hologram made its introduction by way of “King of Rock and Roll.” From there, it was one amazing moment after another from beginning to end.

A pair of Sabbath-era classics in the form of “Mob Rules” and “Children of the Sea,” sung by Owens and Logan, respectively, followed before Ronnie’s image made its way on the screen again for the classic Dio tracks “The Last in Line” and “Holy Diver.” After Owens belted out one more Dio classic (“Stand Up and Shout”), the stage was cleared for a drum solo by Wright, which was a tribute of sorts to Tchaikovsky’s 1812 Overture.

A tagged-team rendition of “Don’t Talk to Strangers” by Owens and Logan followed before more Dio/Rainbow classics began making their way into the set, including “Rainbow in the Dark,” “Egypt (The Chains Are On),” “Gates of Babylon,” and “Invisible” (another duel effort from Owens and Logan). Goldy then treated the crowd to a guitar solo before a couple more Rainbow tracks (“Catch the Rainbow” and “Stargazer”) preceded an unforgettable version of Sabbath’s “Heaven and Hell” (which briefly segued into the classic “Man on the Silver Mountain”).

Owens and Logan then took the stage along with Ronnie’s hologram to close out the night on an epic note with “We Rock,” and finally (after a short reprieve) “Neon Knights.” The only thing I might have changed (other than include tracks like “Time to Burn” or anything off the Sacred Heart album in place of some of the other chosen tracks in the set, but that’s just my own personal taste!) would have been to market the tour itself a bit differently; even though the hologram does indeed play a prominent role, there’s so much more to the entire show than just that. Still, every person in attendance that night seemed to be in agreement of just how well-executed this show truly was.

After the show itself, my wife/photographer and I were extremely lucky to be invited backstage, where we were able to briefly meet and talk to every member of the band, as well as Dio’s own former wife, Wendy. It was apparent that this tour was a collective labor of love from all those involved, and the feelings resonating backstage were that of celebration, and triumph. And as far as all the closed-minded critics of the tour go, to quote Aesop; “The ignorant despise what is precious only because they cannot understand it.” I think if Ronnie were still here today, he would fully approve of what is being presented on stage in his honor right now.

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Queensryche and Fates Warning at The Plaza Live on 3/2/19 By Jesse Striewski/Photos By Brooke Striewski

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Unlike other bands from their era simply running off nostalgia (Ratt, Quiet Riot, etc…), bands like Queensryche are still releasing more-than-respectful material, and not relying solely on their past. And while they may still be largely ignored by modern radio these days, bands from said era such as them (along with Iron Maiden and Megadeth, among others), are still just as strong as ever. After catching them live this past weekend for the second time, there’s no denying these bands are still able to pack a house.

Fates Warning have always been somewhat of interest to me, especially since Armored Saint/ex-Anthrax bassist Joey Vera first came aboard. And with a solid lineup that also includes original guitarist Jim Matheos, joined with other longtime members Frank Aresti (guitars) Ray Adler (vocals), and current Sebastian Bach drummer Bobby Jarzombek, I was looking forward to actually seeing what they could do on stage when they opened the first night of this current tour. But for the most part, they focused a tad too heavily on their (not so) new album, 2016’s Theories of Flight, performing “From the Rooftops,” “Seven Stars,” and “The Light and Shade of Things.” The furthest the band even went in their own catalog was “Life in Still Water” from 1991. While it’s understandable they had limited time to work with (only able to squeeze in eight tracks) this is one case where it would have been nice if they dug just a little further back in time (at the very least 1988’s “Silent Cries” should have still found its way in the set list somewhere).

And finally, Queensryche took over. The last time my wife/photographer and I saw them live, they were still touring for their first album with current vocalist Todd La Torre in 2013. Since then, the band has released a couple of more albums, and were not swayed from playing material from any of them (despite knowing many likely still come to hear their Geoff Tate-era hits). One thing’s for sure, their stage/light show has definitely improved over time. However, it was somewhat disappointing to see original drummer Scott Rockenfield was not on board this time around, though Kamelot’s Casey Grillo filled in just fine.

Opening with “Blood of Levant,” the band continued with mostly newer tracks such as “I am I,” “Man the Machine,” and “Condition Human,” but managed to throw one from their debut album, “N M 156” in there before finally breaking out with one of their signature “classics” (“Queen of the Reich”) six tracks in. “Selfish Lives,” “Open Road,” “Light-Years,” and “Eyes of the Stranger” all followed before the band took a quick reprieve.

It didn’t take long for the band to come back with a trio of their most well-known hits for their encore, including their biggest (and in my book, extremely overrated) power ballad “Silent Lucidity,” as well as “Jet City Woman,” and finally “Empire.” I say it all of the time; if ever you doubt the ability of a band that’s been around as long as Queensryche, wait to see them live before judging. These guys have been going strong since 1980, and it’s clear they don’t show any signs of slowing down anytime soon.

Sebastian Bach at The Plaza Live on 11/2/18 By Jesse Striewski/Photos By Brooke Striewski

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The last time I caught former Skid Row singer Sebastian Bach live, he was the supporting act for Guns N’ Roses back in 2006. Last Friday night’s show at The Plaza Live in Orlando somewhat paled in comparison to that of the larger, arena-sized production I saw him on years earlier. But despite this, those in attendance seemed to at the very least be having a hell of a time.

Young Canadians One Bad Son kicked off the night, ushering themselves onstage with the theme from “Rocky” before ripping into their set. Their style ranged from traditional heavy metal (“Scarecrows,” “Lost All Control”), to mainstream mediocrity (“It Ain’t Right”). Despite some of the most awkward silence I’ve ever witnessed at a live show in between songs, the band truly got it right towards the end of their set with a cover of the Talking Head’s “Psycho Killer.”

Prong/Madonna (yes, you read that right) guitarist Monte Pittman (who the band gets its namesake from) was up next. It wasn’t until about halfway through their set I realized Pittman had devised a super-group of sorts, featuring Holy Grail bassist Eli Santana, as well as former Slayer/Testament drummer John Dette.

Pittman offered a wide range of various rock genres; from metal numbers worth banging your head to (“Changing of the Guard,” “Everything Undone,” “Skeleton Key,” etc..) to even acoustic numbers like “Depth of Perception.” All in all, Pittman’s set was one of the surprising highlights of the evening.

Finally, former (though not “original” – die hard fans will remember that title actually belongs to Matt Fallon) voice of Skid Row, Sebastian Bach, took stage some time after the 11 o’clock hour, appropriately kicking off his set with one from his ex-band’s glory days, “Slave to the Grind.”

The current lineup Bach has assembled for his band offers its own rock royalty as well, with Spread Eagle/UFO bassist Rob De Luca and Riot/Fates Warning drummer Bobby Jarzombek rounding out the rhythm section. Newcomer Brent Woods handled guitar duties admirably (though at one point he threw handfuls of guitar picks into the crowd in what appeared to be a fit of anger).

More tracks from both his work with Skid Row, as well as his solo catalog, quickly followed, including “Piece of Me,” “Dance on Your Grave,” “18 and Life,” “Here I Am,” and “The Threat” (a personal favorite of mine that I don’t recall him playing the last time I saw him, and was definitely not expecting to hear this time around, either!) before getting into the “big guns” (literally).

Once Bach and his band went into the massive 1989 hit “I Remember You,” fans were screaming for more. Which they quickly received, as he then broke out with a couple more from Skid Row’s debut album in the form of “Big Guns” and “Sweet Little Sister.” Bach somewhat lost the crowd for a second with a less-than-stellar joke (the punchline, “Motordead,” should give you an idea of what it entailed) before introducing the song “All My Friends Are Dead.”

Thankfully he was able to recover with the hard-hitting “American Metalhead” before lashing out some more classic Skid Row cuts in the form of “Monkey Business” (in which the band briefly segued into a nice cover of Rush’s “Tom Sawyer” mid-way through), “Rattlesnake Shake,” and the classic anthem “Youth Gone Wild,” which would have made for more than a perfect ending to the night. But Bach hit the already-exhausted crowd with one last solo song (which the name of completely escapes me at the moment) before finally calling it a night.

Unfortunately this time around any and all material from Skid Row’s Subhuman Race album was completely omitted from his set list (if memory serves me right, he at least played “Breakin’ Down” that first time I caught him back in ’06). Even so, I’m glad to see he’s still out there giving it his all, night after night.