The Joe Perry Project Proved They're Back in the Saddle at Hard Rock Live In Hollywood, Florida

By Joanie Cox Henry

Photo by Larry Marano

On Aug. 14 at Hard Rock Live in Hollywood, Florida, Joe Perry reminded a packed Hard Rock Live in Hollywood, Florida why he's been called one of rock's most essential guitarists for over five decades. The 74-year-old Aerosmith axeman's Joe Perry Project rolled into the 954 with the swagger of a band half their age and twice their hunger, delivering a career-spanning set that felt both nostalgic and urgently alive.

The evening kicked off with Milwaukee's blues-rock powerhouse Jared James Nichols, whose muscular guitar work and old-school sensibilities proved the perfect warm-up for Perry's main event. Nichols, armed with his signature gold-top Les Paul, blazed through crowd-pleasers like "Down the Drain" and "Hard Wired" with the kind of raw enthusiasm that reminded everyone why guitar-driven rock will never truly die. His cover of Mountain's "Mississippi Queen" – featuring a surprise appearance by Graham Whitford (yes, Brad's son) – was a particularly inspired moment that had the crowd primed for the main attraction.

When Perry finally took the stage, opening with the Project's signature "Let the Music Do the Talking," he was literally smoking!

Dressed in his rock and roll coat adorned with a skull, Perry attacked his Les Paul with the ferocity of someone still trying to prove something. His band for this 2025 tour is a powerhouse lineup that reads like a rock and roll dream team: Aerosmith bandmate Brad Whitford on guitar, Buck Johnson on keys, Chris Robinson of The Black Crowes on lead vocals, Robert DeLeo of Stone Temple Pilots on bass, and Jason Sutter on drums. This tight unit—clearly road-tested to perfection—locked into a groove that would sustain them through nearly two hours of rock and roll bliss. To get to see this fantasy band line up on my actual birthday was dream come true.

Perry wisely sprinkled Aerosmith classics throughout the evening, but never let them dominate. "Same Old Song and Dance" came early, reminding everyone of his day job credentials, while deeper cuts like "Bright Light Fright" and "Get It Up" felt like genuine discoveries for younger fans who might only know the hits. Perry genuinely seems to love his bandmates and wanted the crowd to know their names. Having Robinson's distinctive rasp handling lead vocals and DeLeo's thunderous bass lines anchoring the rhythm section added layers of authenticity that elevated every song.

But the real surprises came in Perry's cover choices, which revealed both his influences and his continued curiosity. The Black Crowes' "Twice as Hard" and "Jealous Again" made perfect sense – Southern rock with just enough edge to fit Perry's aesthetic, and having Robinson himself deliver these songs with his signature swagger was nothing short of magical. More unexpected were the Stone Temple Pilots deep cuts: "Interstate Love Song" and "Vasoline" both got faithful, muscular treatments that honored the originals while adding Perry's distinctive guitar tone to the mix. With DeLeo laying down the original bass lines, these weren't karaoke performances; they were genuine reinterpretations that felt organic within the Project's sonic universe.

The evening's emotional peak came during the middle section, where Perry showcased material from his solo catalog. "Fortunate One" and "Won't Let Me Go"—songs that might get lost in an Aerosmith show – were given room to breathe here. Robinson's vocals, perfectly suited for this material, were supported by the band's harmonies, with Johnson's keyboards adding tasteful textures and Sutter's drumming providing the perfect rhythmic foundation. It was during these moments that the Project felt most like a band rather than a star vehicle, with each member contributing their distinct voice to the collective sound.

Perry's guitar tone throughout the night was immaculate—that signature Gibson Les Paul sound that's been his calling card since the early '70s, beautifully complemented by Whitford's guitar work, which added both rhythm and lead flourishes throughout the evening. Whether he was delivering the staccato riff of "Draw the Line" or the bluesy bends of "Last Child," every note carried the weight of decades of experience. His solos weren't flashy for the sake of it; they served the songs while still showcasing why he's influenced generations of guitarists.

The Richard Supa cover "Chip Away the Stone" felt like a deep cut for the true believers, while "Draw the Line"—one of Aerosmith's most underrated rockers—proved that Perry's ear for arrangement remains sharp. The song's controlled chaos translated perfectly to the Project's slightly looser, more garage-rock approach, with the rhythm section of DeLeo and Sutter providing a rock-solid foundation that allowed both guitarists to explore.

The encore was pure crowd-pleasing perfection. "The Train Kept A-Rollin'" – the Tiny Bradshaw cover that Aerosmith made famous – was a locomotive of rhythm and blues that had the entire venue moving, with Robinson's howling vocals and the band's collective energy reaching fever pitch. And closing with "Walk This Way"? It was the only possible ending, really. Perry played it with just enough reverence for the original while making it clear this was his house for the evening, supported by a band that understood both the song's legacy and its enduring power.

What impressed most about this show was Perry's commitment to the Project as a genuine creative outlet rather than a nostalgia cash grab. Yes, the Aerosmith songs were there – they had to be – but they felt integrated into a broader vision of American rock and roll that spans from blues to grunge. Perry's guitar work remains his primary mode of communication, and on this night, he was positively chatty, aided by a band that speaks his musical language fluently.

The Hard Rock Live proved an ideal venue for this kind of intimate rock spectacle. The room was big enough to feel like an event but small enough that Perry's guitar faces and stage moves landed with maximum impact. The sound was crisp and powerful, allowing every member of the band to cut through the mix—from Johnson's subtle keyboard work to the dual guitar attack of Perry and Whitford.

The Joe Perry Project's stop in Hollywood served as a reminder that rock's elder statesmen don't have to choose between relevance and legacy – they can honor both simultaneously. Perry's willingness to dig deep into various eras of American rock, from his own catalog to carefully chosen covers, created an evening that felt both familiar and surprising. Having musicians of Robinson's, DeLeo's, Whitford's, Johnson's, and Sutter's caliber on stage with him transformed what could have been a solo vanity project into a genuine celebration of American rock and roll.

As the crowd filed out into the humid Florida night, many were probably thinking the same thing: Joe Perry might be approaching his eighth decade, but he's still got plenty left in the tank. The Project rolls on, and rock and roll is better for it.

Setlist highlights: "Interstate Love Song," "Same Old Song and Dance," "Jealous Again," "Draw the Line," "Walk This Way"

What's Next? The Joe Perry Project continues their Summer 2025 tour through September, with stops planned across the Southeast before heading west.

All images by Larry Marano: