Review: Gene Von Banyard
Sebastian Bach is a legend of rock ’n’ roll, and nostalgia is a powerful tool. Ever since Skid Row entered music culture and mainstream consciousness in 1986 (hailing from Tom’s River, New Jersey), Bach has made himself known as a stalwart of a “music appreciation” lifestyle that still noticeably exists to this day. Last night (29/11/25) at Eaton Hills Hotel, the representatives of this lifestyle were out in full force to support an individual & co. who is a living example of how rock ’n’ roll keeps you young. And when I say full force, I mean to capacity! I have not seen a crowd like this at Eaton Hills since Gojira.
Once the crowd had been successfully shepherded into the venue (shout out to the staff for an excellent job!), the opening act, Willie J’s 6V6s, graced the stage. With a perfect complimentary sound and style to Bach’s well-versed circus, the first thing I said to my hair metal mentor (who accompanied me to the gig for guidance) was that Willie J’s 6V6s were too big for Brisbane. He agreed, as we both felt the band’s passion for anthemic sounds of a more blues-based time. Vocalist Willie J Maxwell seemed to simultaneously channel Jim Morrison and Marc Bolan, while his guitar skills perfectly graced the Cream-esque pockets of the band’s rhythm section — Sebastian Robertson on bass and Callum Leavey on drums. Willie J’s 6V6s were fantastic and opened the show perfectly; I highly encourage old-school glam rockers to check them out as they are currently touring with gusto.
Next up, Bach’s band hit the stage and mein Gott, what a show! Sebastian knows how to work a crowd like a ringmaster of a rock ’n’ roll circus who has played the circuit for decades (37 years, in fact). Bach’s now well-versed solo band — Fede Delfino on bass, Brodie DeRozie on lead guitar, and Bach’s very own son, Paris Bach — delivered a performance with such skill that it allowed Sebastian to hold the audience in the palm of his hand. This was literally seen by myself and my mentor during the opening track, “What Do I Got To Lose”, during which we nodded at each other in knowing appreciation. As the show progressed, so too did the band’s display of talent and the hilarious banter of Bach himself. Seriously, this guy is a big kid! From saying “Acca Dacca” like an Aussie to peeking from behind the audience while cajoling them for an encore, Bach’s antics proved his own espoused adage: “rock ’n’ roll keeps you young, man!” Seriously, check him out on Trailer Park Boys — he’s freakin’ hilarious!
And young the seasoned crowd at Eaton Hills felt for a solid two to three hours of nostalgia-fueled, sonic bliss delivered by Bach and his brothers. The band ripped through a rocking set that included the entirety of the Skid Row self-titled album. The highlight of the album revival for me was the performance of the power ballad “I Remember You.” In my opinion, this track was — and still is in 2025 — the showcase of Sebastian Bach’s vocal range and skill. This vocal ability was developed from his time in a church choir as an adolescent, and at 57 years of age, Bach’s voice is still a force to be measured as a gauge for performance longevity.
The nostalgia did not lessen as the band performed their well-curated encores. It must be stated that Bach loves Australia and its unique, outspoken, and even unbridled audiences. Indeed, you had to be there to witness Bach’s initial shock and then delight at being jokingly booed by a raucously happy crowd to understand and experience this mutual affection. Bach and his band returned this love by performing a crushing cover of Rose Tattoo’s “We Can’t Be Beaten.” Bach knows and loves rock. From his early obsessions with Kiss and Rush, Bach has loved rock ’n’ roll and its heroes his entire life, and this emotion was evident during his in-memoriam shout-out session, which he shared with a crowd equally in love with and reverent of rock ’n’ roll’s fallen.
Indeed, another great night was had at Eaton Hills Hotel, representing Everblack Media, to experience and report on the fact that rock ’n’ roll is not dead — because Bach and his brilliant band were here to prove it, and write it in stone they did.