Posted by In what felt like a friendly showdown at The Patchogue Theatre on Long Island between two masters of the fretboard, the evening delivered a double-header of pure guitar virtuosity. John 5 hit the road in support of his latest release, Ghost, while Richie Kotzen is touring behind his album Nomad—and together, they created a night that celebrated musicianship at its highest level.
John 5 opened the show under eerie ultraviolet lighting, stepping onto the stage with a glow-in-the-dark, psychedelic Lava guitar that immediately set the tone for the spectacle to come. Before long, he transitioned to his signature Telecaster and launched into a set that showcased his genre-bending brilliance. His performance effortlessly blended atmospheric soundscapes with flashes of Bluegrass and Country twang, all anchored by the thunder of Rock, Metal, and even a touch of Industrial intensity.
Longtime drummer Alejandro Mercado provided the rhythmic backbone throughout, while bassist Ian Ross—doubling as guitar tech—joined the pair notably for John 5’s fan-favorite Motley Crüe medley. The crowd responded with full-throttle energy, clearly savoring every twist of technical showmanship and every stylistic detour.
One particularly charming highlight came during John’s instrumental rendition of Queen’s “Crazy Little Thing Called Love.” Though there were no vocals onstage, the audience happily filled in the blanks, turning the venue into a spontaneous sing-along that radiated pure joy.
The night was a celebration—not just of speed, skill, or stage presence, but of the sheer expressive power a guitar can hold in the right hands. And with two such hands-of-fury performers sharing the bill, fans got more than a show—they got an experience.
Following John 5’s electrifying performance, Richie Kotzen took the stage with a presence that was calm, confident, and commanding all at once. He was joined by longtime bassist Dylan Wilson—who has been a steady force in Kotzen’s lineup for well over a decade—and drummer Kyle Hughes, whose tenure began on the European circuit and has since solidified him as a dynamic part of Kotzen’s live trio.
Kotzen’s reputation as a guitarist precedes him, and the set was a reminder of why he is held in such high esteem. His playing was nothing short of mesmerizing—fluid, soulful, and technically staggering without ever feeling showy for showmanship’s sake. Each solo carried a sense of spontaneity, as though the music was being born in real time. His tone, warm and rounded, pulled from the worlds of blues, funk, and straight-ahead rock, showcasing the full expressive range of his signature Stratocaster and Telecaster models—known for their larger neck profiles and custom electronics that cater perfectly to his style.
Rather than leaning heavily on his newest release, Nomad, Kotzen curated a set spanning more than 35 years of solo work. Interestingly, only one track from the latest album made it into the performance—but the crowd didn’t mind in the slightest. The audience seemed spellbound, locked into every note, every vocal run, every subtle dynamic shift. There was no disappointment—only admiration.
As a longtime fan, it was enough simply to be in the room, watching a musician who continues to evolve while remaining unmistakably himself. Kotzen didn’t just perform—he communed with his instrument, his bandmates, and the audience, creating a set that felt deeply personal, yet universally resonant.
It was not just a concert—it was an experience in pure musical expression. Here are a few highlights from both performances.
Long Island Sounds 