Joe Perry Project Delivers a Rock and Roll Masterclass
Tampa Fl.(August 13th 2025)
What do you get when you cross the raucous, freewheeling hard rock of Aerosmith, the bluesy swagger of the Black Crowes, and the nineties grunge perfection of Stone Temple Pilots? You get the latest incarnation of The Joe Perry Project, an all-star outfit that the legendary Aerosmith guitarist pulls together when inspiration strikes. The lineup changes from tour to tour, but one constant remains: pure, unfiltered rock and roll energy.
This version of the band reads like a rock fan’s fantasy draft. On bass is Robert DeLeo from Stone Temple Pilots, a player whose melodic bass lines have anchored some of the most beloved alt-rock songs of the nineties. Behind the drum kit was longtime JPP drummer Jason Sutter, filling in at the last minute for Stone Temple Pilots drummer Eric Kretz, who had to step away due to a family emergency. Perry, of course, commanded his spot at center stage with his trademark swagger and raw guitar tone. Fellow Aerosmith guitarist Brad Whitford brought his understated mastery, while touring keyboardist Buck Johnson added rich textures to the sound. At the microphone stood Chris Robinson, the charismatic frontman of the Black Crowes, whose gravelly, soulful delivery would prove to be one of the night’s defining elements.
Before the main event, the audience was treated to a high-octane opening set from guitar phenom Jared James Nichols. For roughly half an hour, Nichols lit up the stage with blistering solos, heavy grooves, and the kind of confident stage presence that makes you sit up and pay attention. His playing technique fascinated the crowd. Eschewing a pick entirely, Nichols used only his fingers, coaxing a raw, tactile sound from his guitar. His set culminated in a stunning rendition of the Mountain classic “Mississippi Queen,” made even more special when Brad Whitford’s son Graham strolled onstage to join him. The pairing was electric and left the crowd buzzing for what was to come.
When the lights dimmed and Joe Perry and his assembled rock royalty stepped into view, the energy in the room hit another level. With so many iconic musicians sharing the stage, there was an air of mystery around the setlist. Would they lean heavily on Aerosmith hits? Would they explore the catalogs of the other bands represented? The answer, as it turned out, was all of the above.
The band came out swinging with “Let The Music Do The Talking,” a choice that immediately signaled this was not going to be a cautious or restrained performance. Chris Robinson faced the tall order of singing songs indelibly linked to Steven Tyler. Rather than imitate, Robinson brought his own spin to the classics. His delivery was more grounded in the blues, with a looser phrasing that played to his strengths. It was a bold approach, and by the end of the first song, he had won over even the most die-hard Aerosmith purists.
From there, the band ripped through “My Fist, Your Face” and “Same Old Song and Dance,” each delivered with gritty precision. The first departure from the Aerosmith catalog came with “East Coast, West Coast,” a Joe Perry Project original that allowed Perry to stretch out with some extended guitar work. “Get The Lead Out” followed, a deep cut that had the longtime Aerosmith fans in the crowd cheering loudly.
The night took a soulful turn with the Black Crowes hit “Twice As Hard,” a perfect showcase for Robinson’s voice and DeLeo’s bass tone. It was followed by “Fortunate One,” another Perry composition, before the band ventured into Stone Temple Pilots territory. “Interstate Love Song” was given a complete makeover. Instead of the familiar radio-friendly version, the band slowed the tempo and injected a bluesy undercurrent. The result was hypnotic, breathing new life into a song that has been a staple of nineties rock playlists for decades.
The stylistic mix continued with “Combination,” a track that let Whitford shine, and “Get It Up,” which brought the tempo back to a hard-driving groove. Then came “Vasoline,” another nod to DeLeo’s home band, performed with a slightly grittier edge than the original. “Won’t Let Me Go” kept the momentum rolling, followed by the Black Crowes’ “Jealous Again,” which gave Robinson a chance to work the crowd into a singalong. “Bright Light Fright” closed out this middle portion of the show with a jolt of punk-infused adrenaline.
As the night entered its final stretch, the setlist shifted into high gear. The band tore into “Last Child,” a funk-laced Aerosmith classic that had the entire venue moving. “Chip Away the Stone” was next, its infectious riff drawing shouts of recognition from the audience. Then came “Draw The Line,” which Perry attacked with ferocious intensity, bending notes as if trying to wring every ounce of emotion from his guitar.
“The Train Kept A-Rollin’” was a perfect penultimate choice, a nod to Aerosmith’s early days and a song that seemed to sum up the entire ethos of the night: relentless, driving rock and roll that refuses to quit. By the time they launched into “Walk This Way” to close the set, the crowd was in full celebration mode. Robinson delivered the rapid-fire lyrics with a sly grin, Perry and Whitford traded licks with playful competitiveness, and the rhythm section locked into a groove so deep it felt impossible to escape.
When the final chord rang out, there was a collective sense that the audience had witnessed something rare. The Joe Perry Project is not a permanent band, nor is it a nostalgia act. It is a living, breathing vehicle for Perry’s restless creativity and his desire to play with other musicians at the top of their game. This particular lineup brought together three distinct flavors of rock — the hard-edged swagger of Aerosmith, the soulful grit of the Black Crowes, and the alt-rock sophistication of Stone Temple Pilots — and fused them into a cohesive, thrilling whole.
Part of the magic was in seeing these musicians step slightly outside their comfort zones. Robinson tackling Aerosmith classics was a gamble that paid off in spades, largely because he did not try to be Steven Tyler. DeLeo’s bass work was a reminder of how integral his playing is to the STP sound, yet here he adapted effortlessly to a setlist that spanned decades and genres. Whitford once again proved himself to be one of rock’s most underrated guitarists, content to let Perry take the spotlight while still delivering impeccable playing. Sutter’s drumming was both precise and fiery, providing the backbone for every twist and turn of the set.
And then there was Joe Perry himself, the architect of it all. His guitar tone was as raw and immediate as ever, his stage presence commanding without being overbearing. At times he locked eyes with Whitford in mid-song, the two trading riffs like old friends who still have plenty left to say to each other.
By the time the house lights came up, the feeling in the air was not just satisfaction but genuine gratitude. The Joe Perry Project is a reminder of what can happen when musicians of this caliber come together not out of obligation, but out of a shared love for playing. It is loud, it is loose, and it is gloriously alive. For those lucky enough to catch this short run of shows, it was a night to remember — one where the music really did do the talking.
Jared James Nichols:
Joe Perry:
Seminole Hard Rock Casino: