Simon RushworthMichael Monroe and Buckcherry @Newcastle Northumbria Institute, February 28 2026
Loosely translated, the meaning of Michael Monroe’s UK number one rock album, Outerstellar, means ‘beyond or above the stars’.
It’s a fittingly lofty description for the man himself — the former Hanoi Rocks frontman’s on a different planet when it comes to gloriously unbridled showmanship.
Still lithe, loquacious and almost laughably energetic at the grand old age of 63, the fabulously gifted singer doesn’t know the meaning of moderation.
Every time Rushonrock’s caught Monroe live — and we had the pleasure as recently as last May when he headlined Call Of The Wild festival — his energy’s invariably infectious.
In fact, it’s common to feel utterly exhausted just watching the bloke as he wraps his mic lead around his neck, climbs every available vantage point and narrowly avoids impaling his band mates with a series of impromptu leaps and bounds that must seriously test the strength of that reinforced Lycra gusset.
Sometimes the vision’s so surreal that the sound takes a back seat.
But Monroe backs up his boyish enthusiasm with a back catalogue of sleaze metal fist-pumpers for the ages. And this time he came armed with a bunch of catchy new tunes in the shape of Outerstellar’s singalong highlights.
Disconnected, Rockin’ Horse and Shinola were all road tested in front of the Toon faithful and it’s a testament to their quality that all three stood toe to toe with the songs the die-hard fans really wanted to hear.
Timeless anthems like Old Kings Road, Hammersmith Palais and the ultimate anti-ballad Don’t You Ever Leave Me.
Bona fide rock and roll classics in the shape of Motorvatin’, Boulevard of Broken Dreams and Malibu Beach Nightmare.
And the reliably raucous cover of Creedence Clearwater Revival’s Up Around The Bend — a booming track that’s become synonymous with Monroe’s manic on-stage persona.
Watching from the wings must have felt like a joy and a burden for the Buckcherry boys. Maintaining Monroe’s lightning-fast momentum? Nigh on impossible.
But credit to Josh Todd and his buddies. They did their level best.
If California’s most famous band out of time — Buckcherry would have been Guns N Roses-level massive had they emerged a decade earlier — lack the natural vivacity of Monroe and pocket rocket sidekick Steve Conte then they can more than match the music.
Lit Up, Ridin’ and Blackout are brilliantly conceived dirty rock and roll songs.
But as far as Buckcherry’s concerned, nothing trumps Crazy Bitch.
Perhaps that’s why Todd and co. chose to eke out their most famous song for what seemed like a third of the set.
There was even time for a Tina Turner tribute in the shape of a Proud Mary snippet and it felt like Crazy Bitch’s traditional cut and thrust was lost in a meandering medley that ultimately missed the point.
It’s a minor beef.
As debauched double headers go this Monroe/Buckcherry one-two restored rock n roll’s battered reputation with typically frenzied zeal — making sleazy look easy.
A pure adrenaline rush wasn’t included in the ticket price but these seasoned performers served it up anyway. Still buzzing? You bet.
Images by Gordon Armstrong @ G’s Gig Shots