Words by Matt New
Pix by Angie New Photography
Many iconic bands from the 90s continue to entertain their fans, preserving their legacy for future generations to enjoy. Stone Temple Pilots were one of the more unique bands to emerge from the Grunge movement, showcasing more than what the genre had to offer.
I never saw STP as just a Grunge band, but more as a band that aligned with classic rock bands like Led Zeppelin, Aerosmith, or The Rolling Stones, always evolving their sound from album to album. One of my earliest memories of the 90s was being introduced to STP by my guitar teacher, with Plush being the very first song I ever learned on the instrument. So, having the opportunity to celebrate the 30th anniversary of their sophomore release, Purple, was something I was eagerly excited for. This album is widely regarded as one of the best releases from the decade, and to hear it performed in its entirety was a mouth-watering prospect for not just me, a mega STP fan, but the many other fans who love this band as well.
The venue chosen to exhibit this monumentally important show was ICC Sydney, nestled in the heart of Sydney’s iconic Darling Harbour. A venue that has become a multi-versed platform for everything from international touring musical acts and comedians to business conventions and Ted Talks. The sheer magnitude of this venue parallels that of the large-scale concert halls or amphitheatres in the USA, and you definitely feel meagre amongst the thousands of people that pack the space out. That being said, it doesn’t display the same atmosphere of iconic Sydney music venues like the Hordern Pavilion, The Enmore Theatre, or the Sydney Opera House, it feels like you are in a giant movie theater or some intergalactic parliament like in Star Wars. Regardless, there was plenty of space to anchor down with a good vantage point to enjoy some amazing rock bands.
The lone supporting musical act for the evening was Australia’s very own Wolfmother. The trio, founded in Sydney back in 2004, has been led by its founding frontman and guitarist Andrew Stockdale, alongside a revolving roster of session musicians since Chris Ross and Myles Heskett’s departure from the band in 2009.
Wolfmother is a band that has experienced success beyond their own backyard, being revered overseas and immortalized in games like Guitar Hero, their music used by Apple for advertising campaigns, and featured in television programs like Jackass. Their respect even extends to STP’s bassist Robert De Leo, who cites Wolfmother as one of his favourite Aussie bands, so it makes perfect sense they were selected for this tour.
Wolfmother’s entrance to ICC was slightly reserved, as the crowd, at this stage, was still slowly making their way into the venue. They kicked off with the lead track from their 2005 debut, Dimension, instantly transporting the audience into a psychedelic haze. Andrew Stockdale is certainly a very special musician. Many people would kill to have his vocal range, but he also demonstrates an amazing level of skill on the guitar. Singing while playing all of the riffs and solos he is required to perform makes him stand out from many of his peers within the genre, as this is no easy task to adhere to live. Once the audience and the band were syncronised and all warmed up, the energy improved dramatically, especially when songs like Woman and Apple Tree were performed.
The vast majority of Wolfmother’s set coincided with their own personal achievement that seemed to go remotely unnoticed. A humble and cryptic ode to their self-titled debut album, which turns 20 years old in 2025, was respectful not to overshadow STP’s night. I would almost put money on the fact that Wolfmother will treat their Aussie fans with their own tour to mark the occasion later in the year, so watch this space. Stockdale was focused and in his element on stage as he and his bandmates did not play a bad note throughout the entirety of their set. He kept his banter very minimal outside of introducing his bandmates, and addressing himself as “Leo Sayer, and we’re happy to be here” to much comedic effect. It is hard not to love and appreciate this band, as they have become the archetype for local and international success for other Australian bands to aspire to. Wolfmother ended a fiery set with Joker & The Thief, and once again they delivered yet another incredible live experience.
The anticipation inside ICC for Stone Temple Pilots‘ arrival on stage was simply remarkable. The current lineup, featuring original members Dean De Leo on guitar, Robert De Leo on bass and backing vocals, Eric Kretz on drums, and newer member Jeff Gutt on lead vocals, were met with a monumentally boisterous cheer. From the very first notes of Meatplow to the hypnotic grooves of Vasoline and the dizzying journey that Lounge Fly takes you on, Stone Temple Pilots had the crowd in the palm of their hands with resounding control. Gutt’s charisma and sense of humor were on display as he commented on how amazing the audience looked, except for one small section with his tongue-in-cheek wit. STP is genuinely an incredibly well-oiled machine live, performing with the utmost precision and professionalism for a band with many decades of experience.
Jeff Gutt, who has been fronting STP since 2017 after the sudden passing of original vocalist Scott Weiland, has been doing an incredible job leading this band. His vocal timbre and stage presence most certainly honours the late Weiland‘s legacy rather than impersonating it. The pressure to adhere to music fans’ expectations is always a divisive topic, and in STP’s case, many people would argue that the band died the day Scott left us. However, I strongly disagree, and like all bands that have experienced the same fate, the band is always bigger than one person. The fact that STP has continued to play music, create, and remain connected to their many devoted fans is miraculous. The world is certainly much better off with a band of this caliber continuing to perform than not, as there will come a time when we will miss them when they are gone.
Interstate Love Song was an absolute blast, with the crowd electric, fans all the way up in the nosebleed seats out of their seats singing and dancing along to this successful fan favorite. Another notable observation for the evening was the large number of young kids and teenagers right up front in the crowd with their parents to experience this show. It is an endearing thought to know that so many younger fans have been exposed to amazing generational bands like STP and share the experience as a family. Gutt was sharp to notice this, as he was hesitant to swear, opting to use alternatives like “Mothertruckers” instead, although his PG rated vocabulary did not last for very long. He even went as far as selectively handing out some of his jewelry and sunglasses to fans in the crowd while singing. One of the most beautiful and honest moments of the night was Gutt and the band dedicating Still Remains to Scott Weiland, and I will be honest; this hit me in the feels. Not only because this is one of my favorite STP songs, but the sentiment was driven home by an equally powerful performance by each band member, who gave everything they had for their fallen comrade.
The De Leo brothers are some of rock music’s finest songwriters, and their particular efforts on Purple gave Stone Temple Pilots a sense of identity that broke away from cliches at the time. Songs like Pretty Penny, Unglued, and Big Empty vastly showcased how far the brush of musical genius spread. The variety not only between every album in their extensive catalog, but within an album is what makes them so defining yet also sets them apart from other bands from this era. They have always had something for everyone within their music, and that is why they have continued to be adored for such a long time.
Dean De Leo is, in my opinion, one of rock music’s most under-appreciated guitarists. His dense and complex chord voicings coupled with incredible blues-inspired slide and lead guitar chops make it very hard for the band to leave space for a second guitarist, as he covers all bases. His brother Robert is also one of rock’s grooviest and tasteful bass players, but not only that; he provides the stability of consistent vocal harmonies for Gutt, all the while playing acoustic guitar between bass guitar breaks. Is there anything this man cannot do? Finally, drummer Eric Kretz is powerful and dependable on the kit. Not only does he play what the song requires, but he does it with outright precision.
The album’s closing track Kitchenware & Candybars was an odyssey that progressively escalated intensely throughout each section of the track, concluding to an unwavering cheer from thousands of satisfied STP fans. The band took a second to soak in the emotion and savor their achievements before ending with a collection of classics from their first release Core. Wicked Garden and Plush featured the largest amount of crowd participation for the evening, with Gutt in awe as the fans sang for the band at the top of their lungs.
Crackerman, Dead and Bloated, and Sex Type Thing closed the evening on a mighty high. STP was evidently overwhelmed by the occasion, and given this show was the first of their Australian tour, there will surely be many memorable moments around the corner for them to share with their loyal Aussie fans.
Not only did STP sound amazing, the overall production of the show was jaw-dropping. This included some mesmerising visual art that accompanied the band on a big screen, and served as the backdrop to their musical soundtrack. Do yourself a favor and get to one of their remaining dates on this tour, not only to relive one incredible body of music but to honor an amazing band that still remains a staple across many generations of rock fans.
