Buckcherry | Roar Like Thunder Review

by Griff Stevens

Buckcherry’s Roar Like Thunder doesn’t attempt to rewire the genre; instead, it leans into what makes rock have power with unapologetic conviction. Produced by longtime collaborator Marti Frederiksen and released via Round Hill Records, this ten-track blitz is a 31-minute burst of rock tradition at its loudest and leanest. No ballads. No meandering. Just riffs, grit, and swagger, with a production clarity that makes it feel alive in the room. Just as rock should be.

From the title track on, it’s clear that Roar Like Thunder is built on a foundation of riff-driven songwriting and guitar-forward mixing. “Roar Like Thunder” hits hard out of the gate with a crunchy, arena-ready riff and clean band stabs that heighten the dynamics. The melodic guitar solo nods to ’80s rock theatrics without overstaying its welcome, while the rhythm section provides the necessary muscle beneath it all. The follow-up, “When The Sun Goes Down,” features a rolling tom-based drum pattern that injects a touch of menace, while the bending guitar figures introduce just enough tonal color to keep it from sounding stock.

“Come On” is where Buckcherry leans heavily into their AC/DC lineage with straight-four groove, outstanding guitars, and a call-and-response vocal hook that practically begs for a live crowd. Its radio-friendliness is unmistakable, but the harmonic textures in the backing vocals and clever fills show this isn’t just cut-and-paste songwriting. It’s refined Heavy Metal classicism.

“Talkin’ ‘Bout Sex” is the album’s cheekiest track, borrowing glam-rock tropes and pairing them with a wah-drenched solo section. It’s light on lyrical depth, but that’s the point, as it’s a party track with a bridge section that gives the band a moment to breathe and pivot. “Blackout” gets funkier for a second, with a bottleneck slide guitar that morphs into a percussive funk strumming pattern. A secondary crunch guitar locks in with the bassline, creating a groove that teases southern rock influence. The verse-to-chorus transition is executed with just enough shift in feel to keep things propulsive.

“I Go Boom” takes that same rhythmic confidence and layers in horns (or horn-like synths) over a straight eighth-note pulse in the bass and strong backbeat. The vocal delivery shifts in timbre—Josh Todd’s voice here is grainier, more dynamic, a reminder that frontmen still matter in rock when they can shape a line with nuance. The guitar solo is more blues than shred, a smart decision that fits the emotional character of the song.

By “Set It Free,” Buckcherry have fully embraced their love of AC/DC. The band knows how to rock with details like the added harmonic interest of an ascending chorus progression, rhythmic interplay between drums and guitars, and a vocal delivery that flexes power and range. “Hello Goodbye” changes pace with a slower, almost psychedelic rock mood. The 60s-meets-grunge aesthetic is effective, especially in the layering of guitar tones and the depth of the rhythm section. The shape of the melody shows more vocal contour, offering a mid-album breather that still keeps the aesthetic intact.

“Machine Gun” is all rhythmic punch with double-stops in the guitar part, insistent bass, and backbeat-focused drumming. The chorus rhythm is one of the smartest on the album, its phrasing reflecting the titular imagery without becoming gimmicky. “Let It Burn” closes the set with sirens, hard riffs, and high-octane drumming. It’s a reminder that Buckcherry doesn’t need reinvention to feel vital. Sometimes, sticking the landing means riding the wave of the past all the way in.

Frederiksen’s production is top-notch throughout. Guitar tones range from crisp to dirty, always sitting well in the mix. Each solo is placed with intention, never filler. The rhythm section is tight—punchy kick and snare, with just enough low-mid support from the bass to keep the bottom end anchored. Keyboards and other textures are tastefully applied without cluttering the arrangement.

Josh Todd, always a gritty vocal presence, delivers here with articulation and control. His diction is sharp, and he knows how to push and pull a phrase to heighten drama. His performance adds an emotional contour that’s often lacking in modern hard rock vocal takes.

Roar Like Thunder doesn’t pretend to be something it’s not, and that’s its strength. It’s not chasing trends, nor trying to be a critics’ darling. Instead, Buckcherry leans into their identity: loud, tight, riff-heavy rock executed with conviction. The album is a study in keeping energy high without sacrificing arrangement discipline. It’s a lesson in tone placement and mix clarity. For fans? Just turn it up.

 

Artist: Buckcherry
Album: Roar Like Thunder
Label: Round Hill Records

Release Date: June 13, 2025