Hollywood Casino Amphitheatre has hosted plenty of stacked lineups this season, but this was the first time the lawn was full to the brim—shoulder to shoulder, buzzing with anticipation before a single note hit. Four bands, four very different worlds, one night that stretched from heartfelt beginnings to all-out carnage to high-gloss spectacle.
Sleep Theory opened by pulling the crowd into a world where R&B meets alt-metal—a sound that shouldn’t mesh as seamlessly as it does, but they make it work thanks to polish and heart. Their frontman was unmistakably dialed in, every note radiating that “all in” energy. As they wrapped their set, the screens flashed their now-viral video of Cullen Moore wrecking his newly purchased e-bike straight into a fan’s car after a show. It wasn’t just a funny clip—it was a metaphor. That bike embodied exactly what this band is about: all power, no brakes. If that’s not a mission statement, I don’t know what is.
Hollywood Undead stormed out next, snapping the vibe into chaos. For longtime fans, it was instantly striking—no masks. Stripped down, raw, but with the same swagger they’ve carried since day one. Without the theatrics, the connection hit harder. It felt like watching them at their most unfiltered: still rowdy, still irreverent, but with faces bare and energy cranked to ten. True to form, they kept their tradition alive by bringing a kid on stage—passing the mic, sharing the spotlight, and proving that part of their legacy is building the next generation of fans. The crowd fed off it, shouting back every word and staying locked into the high-energy ride.
The band introduced their latest single, “Savior,” live, keeping the set fresh while leaning into their catalog of anthems. Hollywood Undead continues to face criticism for overuse of autotune, and plenty of people have written them off as being in decline over the past decade. But standing there in the pit, it was impossible to deny—they still have it. They just need to stay in the lane they paved, keep putting on hell-raising shows, and remind us of who they are: unmasked, exposed, and unapologetic. Whatever the future holds, one thing is certain—they have a strong fan base behind them. You say Hollywood, we say Undead. (Also, Danny when you’re ready for those tattoos HMU on my socials)!
Slaughter to Prevail turned that party into a battlefield. Before the first blast beat even dropped, a woman passed out right next to me—a moment that showed the other side of heavy music. The pit, brutal as it was, snapped into care mode, clearing space and getting her immediate medical attention. It was proof that even in the chaos, there’s an unspoken code: protect your own.
Then Alex Terrible demanded ten seconds of silence, and when it fell, he unleashed a roar without a microphone that shook the amphitheatre. It was iconic—pure, unfiltered power, the kind of thing you’ll talk about long after the amps cool down. The night did carry one shadow: their drummer, whose return to the U.S. Alex assured us is imminent, wasn’t able to make the show. In his place stood a drum setup lit dramatically, cymbals gleaming, but driven by backing tracks (I would’ve been overly impressed to hear this back track played by a live human). From the barricade, you could feel both the absence and the effort—the kit looming like a presence of its own, a stand-in reminder that the band wasn’t quite whole.
Even so, Slaughter’s set was ferocious. The pit raged harder than anything all night, and this was the point when bodies started surfing across the crowd. Alex even turned his focus to the “grass people,” egging on the full lawn to move—and they did. St. Louis was injected with every ounce of Russian deathcore Slaughter had to bring. It’s the closest thing to wrestling a bear I could ever imagine.
Finally, Falling in Reverse closed the night with pure spectacle. Ronnie Radke doesn’t simply perform—he commands. Backed by massive screens, searing lights, and what has to be the second-best pyro setup on tour right now, the stage was a living explosion of fire and chaos. It was intense—heat you could feel at the barricade, smoke and sparks erupting in perfect sync with every drop.
For all the haters: being at the barricade left no doubt—this man can actually sing. No lip-syncing, no safety net, just raw vocals that cut through every breakdown and chorus. The set swung between venom-spitting verses and soaring hooks, and the crowd—from the pit to the fence line of that overflowing lawn—matched him blow for blow. We even had Donnie (the puppet) for a song. It was incredible.
What stood out most, though, was how pleasant Ronnie was throughout the evening. St. Louis stayed respectful—no one rushed the stage, no one booed—and in turn he gave back with warmth. He waded into the crowd with endless fist bumps and selfies, especially with the kids. At one point, when an overly eager fan pushed for a selfie, he laughed it off with a quick “whoa” and kept moving, focusing his energy on the younger fans. It was a reminder of something that often gets lost in the headlines: Ronnie Radke is not only a badass performer but a genuine entertainer who fiercely values the kids in his audience and embraces the newest generation of fans. Before closing, he even called out that St. Louis showed up—naming it his favorite stop of the tour so far. And he’s right. Falling in Reverse only gets sharper, louder, and better every time they hit this stage.
A quick note on the meet & greets:
For fans who purchased both Hollywood Undead and Falling in Reverse VIP packages, timing became an issue. Despite asking multiple times if the sessions would overlap, the venue assured us they would not. So it was devastating to find that the overlap was ultimately a tour management–side scheduling problem, leaving just two of us (yes—the FIR tour couldn’t accommodate two people) missing the Falling in Reverse session by mere minutes. It was by no fault of ours, but the result of greedy miscommunication between the Amphitheatre staff and J.W., who runs Ronnie’s side of things.
And it wasn’t just us who left frustrated. From the fans who did make it inside, the consensus was disappointment—no phones allowed, interactions cut to a fist bump and a posed photo, and as of show’s end, no one had even seen their meet & greet pictures yet. Contrast that with Hollywood Undead’s side: hugs, actual conversations, selfies, and genuine fan connections. Dustin and his team had everything running smoothly, and it was easily one of the best, most organized meet & greets I’ve ever attended.
By the time the lights cut, it felt like St. Louis had lived four different concerts in one. Sleep Theory gave us heart, humor, and hunger. Hollywood Undead delivered swagger while unmasked and unfiltered. Slaughter to Prevail unleashed war—with one unforgettable roar and a pit that proved both brutal and protective. Falling in Reverse tied it all together with pyro, and high-voltage spectacle.
First full lawn of the season, and the bands more than justified it. Shows like this are the reason the amphitheatre stays full and we grudgingly pay those ridiculous parking fees. With a turnout this strong, we should have a perfectly new paved parking lot by the next show! 💵 😉
Mick’s Photos Coming Soon:
Sleep Theory –
Hollywood Undead –
Slaughter to Prevail –
Falling In Reverse –
Melissa O’Rourke aka WickedWitchofSTL is a jack of all trades. By day she’s an established tattooist and piercer, by night a mother to her amazing son (who is a hell of a guitarist). Melissa has a musical background and can often be found at a local karaoke joint, or a concert when she’s not driving across the country for an adventure. This social butterfly always welcomes conversation so come say hi! See y’all at the next gig!
