In today’s world of electronic beats and pop-driven anthems, post-grunge nostalgia might seem an oddity, and using the moniker Summer of ’99 for a tour on it right square in the middle of the 2020s is sure to have some younger folks scratching their heads. However, for those who came of age in the late 90s under the looming shadow of Y2K, – where the guitar-driven rock was still relevant and bands still balanced modernity with an organic sense of style and cohesion – this trek is a long-awaited return to familiar territory.
The combined forces of alternative rock icons Creed, 3 Doors Down, and Canadian heavyweights Finger Eleven unapologetically brought with them all the stylistic quirks fans might remember, with zero apologies during the process. Yet, the evening offered far more than just a nod to Seattle’s early 90s sound or the signature post-grunge vocal “yarls” that defined the era. And a packed venue of over 19,000 souls at the iThink Financial Amphitheatre in West Palm Beach made it clear: people still crave that sound. The turnout even dwarfed the attendance from Korn and Gojira’s performance just the weekend prior.
Tasked with kicking off this extravaganza with the fading light of early evening still hanging above the Florida venue, Finger Eleven was a spectacle of kinetic energy and force as they cycled through their concise, half-hour-long set. Helmsman Scott Anderson wowed with his soulful vocal delivery and charismatic presence, and bassist Sean Anderson pounded away furiously while gelling seamlessly with drummer Steve Morella’s pummeling mid-paced beats to provide a colossal foundation to heavy-hitting entries like “Above” and “Quicksand”.
That being said, guitarists James Black and Rick Jackett stole the show from a visual standpoint, one kicking the air and moving about the stage like it was going out of style, the other upping the ante further and flipping his guitar about to the point of rivaling Janick Gers’ signature stage antics. The crowd erupted during their hit ballad “One Thing,” but the biggest surprise came with their closer, “Paralyzer.” The performance was interwoven with a quirky mashup of Genesis’ “That’s All” and AC/DC’s “Back in Black,” leaving the crowd cheering for more.
By 7:45 pm, with the night fully set in, Mississippi rockers 3 Doors Down brought a change in tempo, delivering the kind of big rock energy that would define the rest of the night. Many heads were turned by the spectacle of drummer Greg Upchurch raining down his beats from a highly elevated drum riser covered by his customary plexiglass panels, as they were via the upbeat goodness of early banger entries like “Train” and “It’s Not My Time” kicking things off on an obvious high note, paving the way for a stellar performance of their smash hit “Loser” and a harrowing metallic apex point with “Duck And Cover”.
Lead singer Brad Arnold delivered a solid vocal performance, but his prolonged, preacher-like introduction to “Away from the Sun” slowed the set’s momentum. Thankfully it proved a temporary lull in activity that would see things recover, with a gradual build-up from semi-balladic and brooding bangers like “Never Look Down” and “Landing In London” to the explosive finale featuring crushing renditions of “Kryptonite” and “When I’m Gone”.
The night’s true climax came when Tallahassee’s own Creed took the stage shortly after 9 PM. The coinciding darkness of the sky proved the perfect tableau for the massive stage setup and explosive pyrotechnics show that would accompany their epic, 100 minutes long performance. Creed’s 100-minute set unfolded like an allegorical display of traveling from darkness to light. Opening with heavy-hitters like “Bullets” and “Torn,” they quickly moved into more mystical territory with tracks like “Are You Ready” and “Never Die.” The contrast between their ballad-like moments and aggressive riffage created an intense and at times dreary atmosphere, anchored by the meaty rhythm section comprised of Scott Phillips’ powerful yet precise beats and Brian Marshall’s dark, glassy bass lines.
As the night progressed, Creed’s affinity for Metallica’s thrashing intensity gradually waned in favor of more nuanced territory, then on to an upbeat feel to accompany the angst-driven lyrical content. Guitarist Mark Tremonti continued to be a 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 crowd-pleasers “My Own Prison” and “One”. Yet it would be frontman Scott Stapp who repeatedly claimed the spotlight, leading the singing masses through a myriad of chorus hooks, working the crowd tirelessly from one song to the next. Stapp proved even more prolific in the soliloquy department between songs than Brad Arnold, though his asides between songs covered a wide variety of topics more concisely, with a politically charged speech preceding “One” and a heartfelt story about suicide prevention before “What’s This Life For” being the biggest standouts and striking a chord with the ecstatic crowds.
Beyond the stellar performances, the greatest takeaway from the Summer of ’99 Tour was the deep sense of unity and camaraderie. Creed’s performance of “What If” marked a pinnacle moment, especially when a fan named Zachery, who had won the giveaway of a free guitar, was invited on stage to thunderous applause. But this wasn’t just a moment for Creed – the night embodied a tight-knit spirit that was felt throughout the entire show. In an era where pop music often celebrates individuality, this event was a commanding reminder of the community and collective energy that rock still fosters. Some might think this was an exercise in rock music getting back to basics, yet it felt like an Americana-infused (both U.S. and Canadian) celebration of hard rock’s enduring legacy and unity, apropos to accompany this 25th anniversary of post-grunge’s biggest exponents.
