Buckcherry Sets the Stage on Fire - A Thrilling Performance by an Unoriginal Band

Being new to the music of Buckcherry, and also an avid fan of rock and roll, I decided to attend one of the band’s recent performances. On Wednesday November 11, the coronavirus didn’t hold back these seasoned performers, as their teeth rattling and high octane music blasted through the computer monitors of quarantined rock fans. Despite the limitations of a livestream concert, the band’s raw energy still shrieked, wailed and erupted from their stage in San Diego, traversing like an electric pulse into the ears of the audience. Josh Todd swung around wildly, tight leather pants moving to the music, his tattooed chest gleaming under bright neon lights. Crooning over the microphone, his weathered voice soared above the booming rhythm section. The band members jammed noisily around him, the drummer pounding the toms, and expertly skittering across the snares.

The minimal stage set-up contributed to the hard rock aesthetic perpetuated throughout the show. On a huge wall behind the band, three wilted skeletons were illuminated in colorful stage lights. In between these skeletons was the band’s name, twisting its way across the backboard in a harsh crooked font. The minimal lighting and lack of stage props accentuated the music being performed, and the performers themselves, as opposed to distracting from them. Covered from head to toe in jet black leather, their clothing skintight and ripped at the seams, with wavy locks of hair a la Slash or Robert Plant, Buckcherry closely resembled the hard rock bands of the 70s and 80s. The golden era of rock and roll was reincarnated, harkening back to a time when rock legends dominated world stages, selling out massive arenas.

In spite of continuing to carry the torch of rock and roll, Buckcherry’s performance was severely lacking in originality, variety and uniqueness. Their show was entertaining and energetic, held together by the band’s incredible musicianship. But it seemed as if they were trying too hard to be the Motley Crue or Guns and Roses. Their performance was a replication of a bygone era, as opposed to a new take on rock and roll. Very little about the performance was strikingly unique. While artists such as The White Stripes and The Black Keys have furthered the way rock music is performed, Buckcherry is still stuck in the 70s and 80s. The only aspect of their performance, differentiating Buckcherry as a band, was Josh Todd’s bellowing vocals. But the music itself was uninspired, melding together into an indistinguishable mass of similar sounding tracks.

One of the first songs Buckcherry performed was “Riding,” from the album “Time Bomb.” This explosive track was elevated to new heights with a screaming guitar solo by the Filipino frontman, Stevie D. His electric guitar whined, wailed and howled piercingly upwards, as he demonstrated incredible mastery of his instrument. Guitar solos like this one were what defined the show. More than once, Stevie D. took center stage, a wide brimmed hat creating deep shadows over his eyes and nose, as his hand deftly maneuvered across the fretboard. But despite his intricate style, his solos were yet another indication of a band attempting to copy their influences. Instead of creating his own unique sound, in the manner of Bono, Jimmy Page or Jack White, Stevie D. stayed within his comfort zone. His playing was more of a homage to the greats, as opposed to a musician forging his own path. In the sense of summoning the power and style of classic rock, Stevie D. was an excellent frontman. His guitar solos were extremely entertaining to watch, and amazingly well executed. But as far as furthering rock music, or contributing something unique to the band, this Buckcherry frontman was severely lacking.

While I personally see the band’s lack of originality as an artistic downfall, this was an intentional decision on their part. In terms of the show, they successfully brought back to life the spirit of rock music; which for most hard rockers centers around catchy guitar riffs (as played by Stevie D.), sing-along choruses, drum solos and explosive performances. Buckcherry may not be unique, but they certainly live up to what live rock and roll is all about. Josh Todd’s vocals, as an example, were wielded like an instrument, in the spirit of hard rock legends. The shirtless Buckcherry singer screamed above a cacophony of drums intermingled with guitars. His singing was reminiscent of the greats, as he channeled their bravado, intensity and unmatched stage presence throughout the performance. The drummer, Xavier Muriel, pounded on the drums with a driving ferocity, channeling his inner John Bonham. His drum playing was primal and explosive. Driving forward the vocals and other instrumentation, Xavier appeared as if he wanted to smash the drum set in a fury of violent concussions. Stevie D., Josh Todd and Xavier Muriel might as well have time traveled from the 70s; their styles of playing and singing strikingly similar to many hard rock legends.

Buckcherry also didn’t steer very far away from common hard rock themes; which in the past often revolved around drinking, drugs and partying. This was one aspect of the performance I thought was taken way too far. These facets of rock and roll have been around since its origins. But there comes a point when performers, by being consistently vulgar and inappropriate onstage, come across as wannabes and try-hards, as opposed to experienced and talented musicians. This is exactly how I perceived Josh Todd throughout the performance, as a result of the way he presented himself. This lead singer frequently cussed in between songs, describing his different experiences with drugs and partying. But despite my distaste for the way he acted onstage, his vulgar words were very successful at entertaining other people in the audience.

It became clear to me, especially near the end of the performance, that Buckcherry had no desire to be seen as rock virtuosos, or to play in a manner that was genre defining, unique and artistic. Buckcherry wasn’t trying to recreate the playbook of live rock and roll, their goal was simply to bask in its glory, even if that meant copying the styles of their influences. In that sense, they were wildly successful at delivering a thrilling and energetic rock performance. By embracing the idea that Buckcherry’s performance was centered around having a good time, instead of leaving a lasting and deep impression, I’ve come to realize that their show was quite well done. As I previously discussed, Stevie D. delivered numerous screaming guitar solos, much to the delight of the online audience. The drummer, Xavier Muriel, provided a solid backbone for the other instrumentation. Josh Todd delivered deep bellowing vocals, and was clearly having the time of his life. These three musicians brought out the most in the band, making it clear that rock shows are all about having a good time. Regardless of how much Buckcherry has copied hard rock legends, relied heavily on rock and roll cliches and excessively used vulgarity and expletives, one thing is for certain; this band’s performance successfully reincarnated the spirit of rock and roll, bringing back the power and majesty of hard rock for a modern crowd.