Of course, and sorry if I expressed myself in a confusing way. I wasn't referring to bow, I wouldn't blame anyone who plays with that kind of bow if that's what's adapted for the music they're playing. I'd have been the first to adapt strings that sound like gut, feel like gut but never break or go out of tune.
What I referred to is a style of playing that for me is more about show than musicality (and apparently requires an indestructible bow). That's independent from the music being played, but it may indeed be based in my experience in period performance (though that movement too has its share of people who seem to confound "authentic" with "wild and crazy for the sake of being different").
Prejudice? Yes, in the sense that I know I'll get annoyed quickly if I'm watching a video of that kind of playing and that knowledge does make me less inclined to go onto youtube. Maybe I'll search for him on spotify, but there's so much other music left to discover (and learn, on an instrument that's still very new to me) ...
EDIT: there are (official) recordings of Joe Bonamassa's acoustic "evening" in Carnegie Hall on youtube, showing a merry band of probably equally accomplished musicians, some of which are more demonstrative about it than others without any obvious benefit (there must be something about cellos that brings out this aspect in the player!). Besides, isn't it the audience that should be dancing on the tables?
Gretsch G9240 "Alligator" wood-body resonator converted to non-metal strings (China, 2018?)
Bolink baroque violin (Hilversum, 1982)
Formerly: Brian Cohen baroque violin (London, 1985), Nadegini modern violin (Paris, 1924)