On paper, a tour pairing Skid Row and Buckcherry would have “fun-filled night of rock and debauchery” written all over it. And Saturday night’s gig at the Aztec Theatre certainly delivered. But it was more.
Headlined by a mostly ‘80s band that’s still putting out new music in the past year, directly supported by an early 2000s artist that’s also continuing to put out killer fresh material and opened by a frontman who only hit the music scene in the past couple of years but was already making his third appearance at the Aztec in 22 months begged the question: why don’t more tours combine bands from various eras who are still going strong?
In other words, there was something for everyone, or at least for the approximate 1,200 in the 1,600-capacity historic downtown venue (according to a staffer).
Skid Row’s visit was especially long-awaited since, well, who remembers when? You could make the joke that the band has had nearly as many vocalists (five) as full-length albums (six) since its smash 1989 self-titled debut — only surpassed by last year’s release of The Gang’s All Here — but the New Jersey outfit’s timeless music is nothing to sniff at.
While “Youth Gone Wild” still resonates as the FU anthem to corporate America 34 years after its unveiling on MTV, it’s the kick-in-the-crotch heaviness of 1991 follow-up Slave to the Grind that cemented Skid Row’s place in rock after only two albums.
So it should come as little surprise that 11 of the 13 songs performed were from those two mainstay efforts combined, even with new vocalist Erik Gronwall making his live San Antonio debut. Following in the footsteps of former Dragonforce vocalist ZP Theart, TNT singer Tony Harnell, the late Johnny Solinger and of course original voice Sebastian Bach, Gronwall endeared himself to the Aztec audience with his stellar mix of vocal prowess and crowd banter.
Backed by the original trio of guitarists Dave “Snake” Sabo and Scotti Hill plus bassist Rachel Bolan, along with drummer Rob Hammersmith, Gronwall packed his own punch to Skid Row’s classics. It would’ve been nice to hear at least one track from vastly underrated third album Subhuman Race from 1995 such as “Bonehead,” “Frozen” or the title track, because it’s a record that’s not solely appreciated by a famous rock DJ and journalist.
The new album can also stand on its own, though the group only performed two new tracks including “Time Bomb” (ATM footage below) and the title tune. But considering how many popular songs reside on those first two albums, you can’t argue with the group giving the people what they wanted, again taking into account the fact Skid Row doesn’t come around to the Alamo City as often as its support acts on this night.
Gronwall was a particular force when he held the “I’m so far awaaaaaay” part on 1991’s “Quicksand Jesus” in admirable fashion. He also proved he could multi-task without issues when he borrowed not one, not two but three fans’ phones and filmed himself and the crowd singing the new album’s title track 12 songs into the 13-track performance (see setlist in 65-photo gallery). It was also nice to see generations older and newer getting into Skid Row’s two new songs, something practically unheard of at concerts in a city that worships its classic rock. Watch the band via ATM Facebook Live footage of “Piece of Me'“ and “Livin’ On A Chain Gang.”
On a night in which Skid Row had plenty of competition for fans’ adoration given that Glenn Danzig was playing his 1988 self-titled solo debut in its entirety at the Boeing Center at Tech Port, Yngwie Malmsteen and Glenn Hughes joined forces at the Tobin Center and Texas wrestling legend Kevin Von Erich was hosting a story-telling show next door at the Charline McCombs Empire Theatre, the fact Sabo and Skid Row were on stage at all cannot be taken for granted.
Sabo, who’s also the tour manager for Down — the New Orleans outfit fronted by Pantera’s Philip H. Anselmo — recently spoke with RockCelebrities.net about his multiple suicide attempts. Anytime a musician perseveres through never-ending struggles such as mental illness, depression and suicidal thoughts and comes out the other end playing live on stage, well, he or she deserves ultimate props, applause and support.
Unlike Skid Row, Buckcherry has been a live staple in San Antonio for many years. This time, vocalist Josh Todd and guitarist Stevie D. and their newest bandmates are touring in support of June’s release of Vol. 10. Like Skid Row, the band only performed two new songs — one of them being its cover of Bryan Adams’ “Summer of ‘69” — due to the bevy of hits it needed to squeeze in for what amounted to a 53-minute showing. Watch them via ATM Facebook Live footage of “Ridin’ “ and “Hellbound.”
Buckcherry is shake-your-head amazing in that here’s a band whose biggest hit is “Crazy Bitch,” has the balls to release an entire EP entitled Fuck in which every song burns the magic word into your brain cells — yet can also write a song raising awareness about child abuse (“Rescue Me”; not performed on this night, however) or hit you with its soft side on 2005 ballad “Sorry” (ATM footage below).
And Buckcherry carried the fun oxymorons a step further at the Aztec. Todd, who spoke exclusively with ATM in 2017 about his side band Josh Todd & The Conflict (listen here), might be the only vocalist who could interject a “Rolling On A River” ode to the late Tina Turner in the middle of “Crazy Bitch” and still have it ring out as the ultimate compliment.
Along with bassist Kelly Lemieux and recent guitarist and Jetboy co-founder Billy Rowe, it’s the 2019 addition of drummer Francis Ruiz that may be rock’s best-kept secret, at least to the general public and fans if not those on the inside of the industry.
A native of Albuquerque, Ruiz has been known to appear at shows in South Texas when he’s not on stage, such as checking out Judas Priest last Thanksgiving Eve at the Boeing Center. More importantly and incredibly, Ruiz has served as the drum tech for legends and standouts such as Tommy Aldridge (Ozzy Osbourne, Whitesnake), Mikkey Dee (King Diamond, Don Dokken, Motorhead, Scorpions), Charlie Benante (Anthrax), Paul Bostaph (Slayer), “Wild” Mick Brown (Dokken, Ted Nugent) and Jeff Fabb (Black Label Society, In This Moment).
For good measure, Ruiz has also been a member of Great White and Samantha 7, the latter the side band of Poison guitarist C.C. Deville. Moments after getting off stage, Ruiz patrolled the VIP section of the Aztec and wished fellow drummer, friend, San Antonio native and — ironically — longtime drummer for Bach’s solo band Bobby Jarzombek a happy 60th birthday (see photos).
Opening up the evening was Cincinnati native Kurt Deimer, who was making his third Aztec Theatre appearance after opening for Geoff Tate in November 2021 and Tesla in September 2022. On this night, Deimer was accompanied behind the scenes by Tesla bassist Brian Wheat, who took photos of Deimer’s performance from the soundboard.
Deimer and guitarist Phil X spoke with ATM prior to the Tesla concert (watch here). With the latter just coming off a tour of Indonesia with Sons Of Apollo keyboardist Derek Sherinian, Deimer this time was backed by guitarists Brandon Paul and Sammy Boller, bassist Brendan Hengle and drummer Dango Cellan.
Much like Deimer’s appearance with Tate was mostly unbeknownst to the crowd that would show up at the Aztec, so too was the third time around. Deimer has been doing his own self-promotion for this tour with scant mention by Live Nation or the main acts. In fact, the show began at 7 p.m. — 20 minutes prior to the official start time that had been given to media and venue personnel by Live Nation.
Nevertheless, Deimer and his band got things going with the crowd-pleasing sing-along and message-inspiring “Hero,” the Pink Floyd cover “Have A Cigar” and forthcoming album track “Live or Die.”
Many may have wished they could’ve been in three venues at the same time on this particular evening. But for those on hand at the Aztec, a chance to see these three staples of the rock scene past and present was too good to pass up.
After Skid Row took its well-deserved bow and exited the stage, “Margaritaville” graced the P.A. as an ode to the man who passed earlier in the day. It was a classy touch and end to a show that will go down as one of the best 2023 has offered up in this neck of the woods — and one those in attendance would certainly pay to see again.
