CREED’s Summer of ’99 is an explosive celebration of Post-Grunge glory

In today’s world of electronic beats and pop anthems, post-grunge nostalgia might seem odd to use that name. Summer of 99 Its right square tour in the mid-2020s will no doubt have some young people scratching their heads. However, for those who grew up under the looming shadow of Y2K in the late ’90s, where guitar-driven rock was still relevant and bands still balanced modernity with an organic sense of style and cohesion, this campaign is long overdue. return to familiar territory.

The combined forces of alternative rock icons Creed:, 3 Doors Downand Canadian heavyweights Finger eleven unapologetically brought with them every stylistic quirk that fans could remember, making zero apologies in the process. Still, the evening offered much more than just a nod to the early ’90s Seattle sound or the iconic post-grunge vocal “yarls” that defined the era. And a packed house of more than 19,000 people at the iThink Financial Amphitheater in West Palm Beach made it clear. people still crave that sound. Participation even reduced attendance Korn and: Gojiraspeech at the weekend.

Set to begin this extravaganza with the fading light of early evening still hanging over the Florida venue, Finger eleven was a scene of kinetic energy and power as they cruised through their brief half-hour set. the leader Scott Anderson wowed with his soulful vocals and charismatic presence and bassist Shawn Anderson hit furiously while jamming non-stop with the drummer Steve MorellaOn Top and Quicksand make a great base for hard hitting.

That said, guitarists James Black and: Rick Jackett stole the show visually, with one hitting the airwaves and strutting around the stage like it’s fashion, the other upping the ante and twirling his guitar to rival the stage. Jenic Gers“Signature stage tricks. The crowd erupted during their hit ballad ‘One Thing’ but the biggest surprise came with ‘Paralyzer’. The performance was interwoven with a strange mixture Genesis“All that” and AC/DC‘s “Back in Black,” leaving the crowd cheering for more.

At 7:45 p.m., when the night is fully underway, rockers from Mississippi 3 Doors Down brought a change of pace, delivering the kind of big rock energy that would define the rest of the night. Many heads turned from the drummer’s glasses Greg Upchurch raining down his beats from a high drum riser covered in his usual Plexiglas panels, as they did with the optimism of early records like; “train” and ‘It’s Not My Time’ started on an obvious high note, paving the way for a stellar rendition of their hit ‘Loser’ and a hauntingly metallic climax with ‘Duck And Cover’.

Main singer Brad Arnold delivered a solid vocal performance, but her long, preachy intro to “Far From The Sun” slowed down the set’s momentum. Fortunately, it marked a temporary lull in activity that would see things pick up again, gradually building up from semi-ballady and edgy sounds like “Never Look Down” and “Landing In London” to an explosive finale with crushing renditions of “Kryptonite.” and “When I’m Gone.”

The real highlight of the night came when Tallahassee’s possession Creed: took the stage shortly after 9 p.m. The overlapping darkness of the sky was the perfect tableau for the giant stage setup and explosive pyrotechnic show that would accompany their epic, 100-minute performance. Creed:The 100-minute set unfolded like an allegorical display of a journey from darkness to light. Opening with the hard hitting ‘Bullets’ and ‘Torn’ they quickly moved into more mystical territory with ‘Are You Ready’ and ‘Never Die’. The juxtaposition of their ballad moments and aggressive riffage created an intense and sometimes dark atmosphere, anchored by a meaty rhythm section that consisted of; Scott Phillipspowerful yet precise strikes and Brian Marshalldark, glassy bass lines.

As the night wore on Creed:the ratio of Metallica‘s crushing intensity gradually eased in favor of a more nuanced territory, then was accompanied by the optimism accompanying the angst-fueled lyrical content. Guitarist Mark Tremonti continued to be the surgeon in the guitar department from one structured anthem to the next and often took some liberties in the technical shredding department during the closing moments of the crowd-pleasing ‘My Own Prison’ and ‘One’. It would be a frontman though Scott Stepp who have repeatedly grabbed the spotlight, leading the singing masses through countless chorus hooks, tirelessly working the crowd from one song to the next. Stapp even more prolific in the monologue department than between songs Brad Arnoldthough his asides between songs more succinctly touched on different themes, with a politically charged speech before “One” and a heartwarming story about suicide prevention before “What’s This Life For” being the biggest hint and striking a chord with the excited crowd. .

Apart from the stellar performances, the biggest achievement Summer of ’99 tour was a deep sense of unity and camaraderie. Creed:A performance of “What If” marked a climactic moment, especially when a fan’s name was mentioned Zacharywho had won the gift of a free guitar, was invited to the stage to a standing ovation. But this wasn’t just a moment Creed: – The night embodied a strong spirit that was felt throughout the show. In an era where pop music often celebrates individuality, the event was a compelling reminder of the community and collective energy that rock still fosters. Some might think this is an exercise in back-to-basics rock music, but it feels like a celebration of the enduring legacy and unity of American (both US and Canadian) hard rock, fitting to accompany this 25th.^th anniversary of the biggest representatives of post-grunge.