Gallery By Jose Sanchez
Rod Laver Arena
The Heavy Entertainment Show rocketed into Melbourne last night for the first of two sold out shows. It’s no surprise that tickets sold like hot cakes, Melbourne loves Robbie and he loves us back ten fold. The support for the evening was Melbourne based funk unit The Bamboos, they treated us to a 40 minutes funk/soul set that had everyone shimmying in their seats. Their sound was big and their voices bigger, definitely one to watch for on the live music circuit.
Robbie’s wicked sense of humour apparent before we even got a glimpse of the man himself, as we all stood for the National Anthem of Robbie, a hilarious ode to himself that had everyone in stitches. Then it was gloves off as Robbie took to the stage draped in a boxing robe that Liberace would be proud of! His trademark ‘man skirt’ hiding underneath giving him much needed ventilation. He was accompanied by six dancers also kit out in red and green fighting regalia, looking sleek, sexy and ready for anything. Opening with The Heavy Entertainment Show it was time to show the world just how good Robbie ‘Fu*king’ Williams is, with a stage that ran nearly the whole length of the floor everyone had prime position and didn’t miss a thing. His fans always being put to the forefront to ensure they get the best possible experience.
The fan favourite Let Me Entertain You had everyone jumping as the fighting attire was lost and the show moved into full party mode. Monsoon had hands swaying side to side and a most beautiful tribute to his idol George Michael with Freedom! 90. The back screen showed the famous black and white ‘Faith’ picture of George Michael as the stage between the crowd turned into a runway. The dancers in full catwalk mode as they strutted to Freedom! 90. Robbie did mention that if there was one person he would ‘turn’ for it would have been George!
With a hit-list as long as Robbie Williams has, you can’t expect to get everything but the mix of songs was perfect with enough old, new, and swing to keep even the fussiest punter happy. Love My Life saw Robbie take to a giant boxing glove that appeared from the depths of the runway, the riser lifted him to circle over the crowd while he sang, giving everyone that up close experience. Crowd participation is always paramount at any Robbie Williams show, last night was no exception, with one lucky fan pulled up to be serenaded during Somethin’ Stupid. Did it matter that it was a male, no way! It is what makes Robbie so lovable, and definitely a night that the pink polo shirted fan will never forget. His cheekiness undying all night, with kilt lifts part of the norm, happily flashing his butt and even his tiger embossed front on several occasions. Jokes aplenty and more than happy to have a laugh at himself and make others laugh in the process, Robbie Williams is the ultimate entertainer, there will never be another quite like him.
This show had everything and more with 80’s sing-a-longs, dance spectaculars, laser lights, big screens, amazing band, superb support singers, to name just a few of the things you can expect if you are going along, but I don’t want to spoil all the fun. It really is a show you must see to believe. We saw the real Mr Williams aka Robbie’s dad make an appearance as the two sang a duet of Neil Diamond’s Sweet Caroline on a couch that just ‘appeared’ at the end of the runway. She’s The One and Feel gave everyone a chance to catch their breath as we were treated to a spectacular laser show that left the audience spellbound. Rock DJ had everyone bouncing again, the dancers having yet another fabulous costume change. Everyone on their feet dancing and singing enjoying every last minute. After a very brief break and plenty of chanting from the crowd he was back to finish out the night, no one wanting it to end but we all knew it was inevitable. Better Man and Angels both as beautiful as the other, phone torches held aloft to make the stunning laser show even more enchanting as the crowd sang back the words with love, their adoration of this amazing musician ever present.
Robbie thrilled us with his cover of Down Under it was a fabulous edition, and really is testament to how much overseas musicians love coming to Australia. We sang strong and loud, proud to hear ‘our’ national anthem sung so perfectly. The night came to a close with My Way, fans definitely as loud as Robbie himself. Another sing-a-long ensued as we finished the lyrics that Robbie started, the audience singing Angels in unison to his departure.
If you can get your hands on a ticket, DO IT! Don’t miss the opportunity to witness this extravaganza in the flesh, this show delivers so much more than music, it really is The Heavy ENTERTAINMENT Show!
Review Contributed by Cassandra Hale
ALL PHOTOS CONTRIBUTED MATT ALLAN
It was a sight fit for a King or a Queen if you are that way inclined, as I made my way to Rod Laver Arena for a night of 80’s inspired tunes. Many decked out in full Culture Club regalia, some just happy in their own skin, and if that meant hairy legs with high heels, so be it. If you asked me to describe the devoted fans flocking in, my answer would be extravagantly colourful!
Quite a few tuned out early to check out Hoseah who recently came to light on The Voice Australia as part of Team Boy George. He gave us a lovely 20 minute set with the voice of an angel filtering out for all to enjoy. I am certain there are big things ahead for this talented young man.
It wouldn’t be an 80’s party without a little something from the Eurogliders, they put on a terrific performance for all to enjoy over the next 40 minutes. Grace Knight shining in one of her multi-coloured suits she is so well known for. Vocally and musically outstanding we got all the hits including, We Will Together, Can’t Wait To See You and Absolutely. Finishing out the set with the chart topper Heaven, which turned into a fabulous sing-a-long for all to enjoy. Then as the band downed their instruments the song finished out in a beautiful a cappella rendition as they left the stage.
Rod Laver was warming up and ready for the next 80’s instalment. Enter Tom Bailey and band, Tom being one third of 80’s sensation The Thompson Twins who were synonymous for many huge hits back in the day. With his band consisting of three lovely young ladies all dressed in white and himself also sporting a white suit and glasses they were off and delivering 80’s joy for all to hear. Opening with Lies, Tom showed his versatility swapping from drums to keys, guitar and even some sneaky harmonica and tambourine over the course of the set.
A huge blue ball was launched into the crowd much to their delight and after a fair bashing it ended up in the photographers pit, which nearly caused some carnage for the unaware snappers, but it was quickly captured and released back stage. King For A Day, Lay Your Hand On Me and Doctor Doctor all featuring on the night’s bill. The big screen working in overdrive to accompany the fabulous music and if you closed your eyes you could almost believe you were at the local blue light disco feeling fifteen again. Hold Me Now was the perfect closer, the swelling crowd on their feet loving every minute. We were treated to another sing/clap-a-long of Hold Me Now, Warm My Heart, Stay With Me, the lyrics we all know so well sung in unison, and I must say on reflection, we all sounded pretty damn good.
Calling Australia his second home it was no surprise that we were being spoilt with another live concert by Boy George and Culture Club, the third in as many years. The buzz was electric as the lights went down, screaming fans waiting for their first glimpse of their 80’s idols, Rod Laver erupted as they took to the stage. Looking fabulous in his yellow hat and ensemble of red, back and yellow to match, Boy George wowed us right from the start, add to this Mickey, Roy and Jon and you have Culture Club in all their glory. Opening with Bitchface, and then the iconic Church Of The Poison Mind, it was pure joy for the fans, immediately swept up in memories that are evoked by Culture Club’s amazing music. It’s a Miracle, I’ll Tumble 4 Ya, and Time all sublime with some lovely images flooding the screen from film clips and photos from across the years.
Featuring in Culture Club’s last three show was Different Man based on Sly Stone one of Boy George’s biggest influences, followed by the smash hit Miss Me Blind which had the fans singing and clapping eager for more. The mash up of You Can’t Always Get what You Want/Walk On The Wild Side was terrific and backed up with one of Culture Club’s biggest hits, Do You Really Want To Hurt Me. A song that the boys didn’t want to put out as a single but lucky for them the record label had other ideas and it sent them flying to stardom with numbers ones all over the world.
Boy George now sporting a red hat, shirt and shoes to match, ever the fashionista! I would have liked a bit more lighting as I felt I couldn’t really see Boy George’s face as well I would have liked but the pristine sound more than made up for what may have been just my aging eyes.
The musicians and backup singers all amazing and while Boy George stated it would be a night of “jetlag and optimism” it certainly didn’t show. The band faultless all night bringing endless energy and Boy George had his usual free spirit shining. You could feel the love and devotion so many have for Boy George, a man who has walked the hard road to be excepted so in turn others can feel free to express themselves openly.
As Roy took to the keyboard I knew Victims would be next, it is my personal favourite and a song that I hold very close to my heart. I held back tears as Boy George delivered this beautiful song, a definite standout for me. Jon’s booming drums were an absolute show stopper, the sound resinating around the arena having a huge impact on all. The War Song saw out the first set, but we knew Karma Chameleon was waiting in the wings, and they were no sooner off the stage and they were back to give the screaming fans what they wanted. Karma Chameleon then a stunning rendition of Purple Rain that rendered everyone speechless. The closer of the night was an awesome cover of Get It On. The crowd were singing and dancing not wanting it to end, but they certainly had made enough memories in this one evening to last a lifetime.
Culture Club really is the gift that keeps on giving, with every tour we get to unwrap another layer, and with Boy George saying they will be back, it really is the best present one could ask for.
Review Contributed by Cassandra Hale
ALL PHOTOS CONTRIBUTED JAIDYN HALE
The brewing storms did nothing to dampen the mood for tonight’s double bill featuring two living legends of the music industry, Chrissie Hynde and Stevie Nicks. With traffic at a standstill I barely made it to my seat as The Pretenders took to the stage.
Decked out in her trademark hoop earrings and tight denim jeans, Chrissie was hot, hot, hot with a pink sequin jacket completing her ensemble. Opening with Alone, The Pretenders were off and running, with plenty of juice in the tank for a cracking one hour set. Message Of Love, Talk Of The Town, Hymn To Her, they just kept coming, it was about then that you realise just how many hits The Pretenders have and what a massive stamp they have left on the music community. Back On The Chain Gang a definite fan favorite along with I’ll Stand By You and Don’t Get Me Wrong.
The band were faultless all night and showcased their playing skills during Middle Of The Road with a blistering guitar exhibition, with Chrissie taking it to the boys in tremendous fashion. Vocals so on point she could take out your eye, and some tricky harmonica skills she really is the complete rock chick package. Her banter with the fans was fabulous, even sharing the microphone with one lucky punter up the front for a sing-a-long.
With everyone on up there was only one song left we wanted to here, the huge hit Brass In Pocket. Now who can forget that film clip with Chrissie decked out in waitress apparel, a classic in anyone’s book. A fantastic song to finish out what was a brilliant set, everyone dancing and singing their hearts out, to which Chrissie replied, ‘Melbourne is where the music is’ and she is right on the money with that statement.
After a very brief interval the magical Stevie Nicks steps up to her microphone. Her mic stand adorned in ribbons and beads and all things that glitter, perfectly paired to the opening song Gold and Braid. Right from the onset you knew this would be something very special, with stories encompassing an illustrious career spanning decades. The set list was large and covered Stevie’s solo career as well and Fleetwood Mac and even songs from before that.
The adoring crowd captivated by this amazing storyteller, with tales of yesteryear flowing effortlessly, including fabulous accounts of times with the late Tom Petty and Prince. These stories accompanied by amazing photos on the big screen, leaving everyone feeling very emotive and grateful for the insight into Stevie’s private life.
Stop Draggin’ My Heart Around produced tears from many as we remembered the late Tom Petty, with Chrissie stepping in to accompany on this huge hit. Belle Fluer, Gypsy, Wild Heart and Belladonna, all amazing, Stevie’s voice only growing more beautiful over time, not losing any of her grace or stage presence over the years.
Dreams had the crowd on their feet, with a stunning backdrop changing to suit the song and sensational coloured spheres and oversized light globes dropping from the ceiling to create an amazing warmness, often changing colours to suit the mood. The stories flowed easily and you could hear a pin drop as every listened intently not wanting to miss a word. Stand Back was a definite favourite of mine, and the tale that followed enthralling, and while I will not spoil it for anyone still to see the show, I can guarantee it will leave you gobsmacked.
Stevie’s fashion has never altered over her career, tonight was no exception to that rule, with her fingerless gloves and designer outfits all tailor made (another story of the night) and her beautiful capes and shawls that adorned her all night, even having her original one from 1981 still travelling to every show. And while it may have cost $3000 back then, it has definite paid for itself over and over, and still looks stunning.
The Edge of Seventeen had the back screen in overdrive with enchanting images and dazzling lights, and of course pictures of Tom Petty. The connection they shared ever present, a truly wonderful way to see out the first set. Moments later Stevie returned with her sensational band and back up singers to treat us to two more, and what a delight it was, Rhiannon and Landslide. Both exceptional, the fans undeniably moved with emotion as this radiant songstress gave us everything and more. Her parting words, enjoy life and just have fun!
What an empowering night for women, seeing two of the finest still wowing audiences well into their careers, but without a doubt, I can say there are still many years and hopefully many more songs still to come.
Review Contributed by Cassandra Hale
The clothing is black…check, the t-shirt from a prior Vegas show is donned…check. Shortness of breath, thumping of heart and a little bit of wee coming out…check check CHECK. (Sorry about the last one but we wanted horror, right?) Ready to spend the night with Alice Cooper. Really Sheryl? Was he compelled to seek special permission to use that tour title?
Visual reminders adorned by crowd members remind that a good percentage of this vast horde are loyal Ace Frehley fans, here to watch the space man take flight. With significantly less regalia and fanfare than a headline gig, Ace and the band provide a solid performance more akin to casual mid tour sideline show than a stadium. This was entirely appropriate and afforded their performance a tremendously enjoyable and distinctly grass roots rock n roll atmosphere.
But then who wouldn’t sit wherever to enjoy the talents of performers like Chris Wyse, whose vocal ability needs no selling to fans of Owl, but to watch a man who has played with the likes of The Cult, Ozzy, Mick Jagger, and see the percussive prowess that earned those gigs is of special significance.
As is the opportunity to watch Scot Coogan, who has been a personal favourite kit killer of mine since 2004 when he took to the stool for Brides Of Destruction and, besides having played with a myriad of performers, is certainly well established with Ace, having first joined his band 10 years ago. To watch his skill tonight was very special to me personally, reminding me of previous shows in the on US soil and I sincerely hope he was appreciated by all present.
Richie Scarlet is extremely well known to Ace Frehley fans the world over and that tremendous lifetime of experience in providing the Ace show rhythm guitar, shone brightly tonight. The Emperor of Rock n Roll in Richie, not only rocked with Mountain for the better part of sixteen years, but was also part of the original Ace Frehley post Kiss plan, having been present for inception before Frehley’s Comet even had a name. Now as a partial glimpse at his vast experience and considering his contributions, its little wonder his string caresses prompt guitar to sing so very sweetly and if that sort of skill doesn’t thrill, I don’t know what will. Beautiful stuff Richie.
And so to Ace himself, and what really can be said that you would not already know or reasonably presume from this seasoned rock legend. As skillful as ever and in casual mode as appropriate to the show, but lacking not one ounce of those sensational skills. Fan favourites like Love Gun and Talk To Me pleased the eager crowd and New York Groove had the entire stadium bouncing to the beat. Strange Ways was a particular favourite of mine tonight and watching Ace perform Detroit Rock City will always bring chills for yours truly. The smoking guitar is surely appreciated as a band member in its own right and, as so deserves special mention to appease its demanding nature, lest it breathe its fury in my direction.
This tour is a tremendous opportunity to enjoy these musicians in the aforementioned style. The Ace Frehley section of the show was an absolute treat and I hope Australian audiences avail themselves of the opportunity to attend the remaining shows and watch in awe of the skill, experience and heritage before them this entire group of rock giants.
While the crowd refresh drinks either exhausted by consumption or spilled in neighborly benevolence over others (and no doubt relieve bursting bladders) the fantastic road crew skilfully manage a brilliantly executed stage renovation. Only the finest stage operators will do for Alice Cooper because, in exactly the same surgical precision as every other Alice Cooper show I have ever witnessed, the band commence proceedings at exactly the planned start time. I mean to the second. What professionals and yes, I do extract a personal thrill for myself by staring at my watch at the beginning Alice gigs. I’m certain its boring and bordering on OCD in the eyes of others but I find it a hoot to appreciate how refined, professional and precise this entire entourage are.
The band lurch forth from the contemporary stage of horror which is adorned with trinkets and revulsion’s to appall and disgust in brilliant Alice style. Clowns straight from your nightmarish imaginings, huge deformed babies bursting with malevolent intent and other assorted horrors, sufficient refined, so as to be fresh fanfare without altering the Alice Cooper show atmosphere.
After one last warning with a “well, well, well, what have we here…” and a brief reflection that there may yet be a chance of escape from the nightmare, we are informed that it is indeed “too late now” and we are destined to be his broken toys…forever. The man of the moment, every malevolent moment, cloaked and magnificent, walks into view amid a shower of sparks and air of evil intent. Some of the young amid the crowd realise that mummy’s reassurance that monsters are not real, reach the horrifying realisation that mummy was lying. He is here and he is real. The horrifying legend, near half a century in the making, become an unforgettable reality. All commanding and all powerful, more powerful than ever before…ALICE COOPER. He gazes out, scanning left and right and appears appeased that sufficient souls are assembled for the begging of our end.
With a shedding of the cloak, and a spinning of the cane Alice signals his musical minions to join in with the tormenting, as Melbourne falls helpless into the web of his nightmare.
I first clap eyes on the unmistakable and slightly sinister figure of Chuck Garrick emerging from the shadows, as though he is manifesting into our reality from a demonic dimension.
This prompts the most brilliant feeling of tremendous excitement because this is the first time we will see Chuck on an Australian stage since, along Tim Husung, Jan LeGrow, Chris Latham, and Calico Cooper they released their soaring and sensational sophomore album as Beasto Blanco. What a thrill is about to be bestowed upon us as this beast, who is the epitome of everything heavy rock and brilliant guy to boot, becomes larger than life from the sinister veil of the shadows. Seldom do you see a percussive protagonist grasp and command a crowd like Chuck, so much so that he is the envy of performers all over the world. Only a lucky and select group have had the privilege of shared the stage with this sensational behemoth of the bass. Cheap Trick, Billy Bob Thornton, the late, great Ronnie James Dio, L.A. Guns, Ted Nugent are but a few of the famous who have watched their music rhythmically launched beyond their imaginations and their stage shows enhanced immeasurably by his skill and very presence. Hell, this is the man (term used as descriptive only and does not allege that he is mere mortal) who took over bass duties from Karl Cochran, joined on stage with the brilliant John Corabi, Bruce Kulick and Eric Singer together as the Eric Singer Project, providing a hefty helping of oomph to their live work. And here he appears, live before our very eyes.
Flanking the opposite side of our host of horrors is the utterly sensational Hurricane Nita Strauss and the realisation again strikes me, like a Godzilla to the face courtesy of Nita’s signature guitar sling, that its really her… live on stage.
Nita has performed her unique style as part of The Iron Maidens and Femme Fatale, but took over guitar duties with Alice Cooper from Orianthi Panagaris in 2014. Since that time she has been the darling of Alice Cooper show fans all over the world, but it is her sensational guitar work and theatrical engagement that is on show for us tonight. And what a show she provides. Skillful, engaging and somehow enchanting in a rock and roll manner. All the young who would aspire to the ultimate contemporary ‘rock chick’ archetype need look no further for inspiration and aspirations. But with that moniker cast aside, Nita is a wailing sensation in my top picks of theatrically thrilling rock guitarists of all time and I don’t have gender categories.
How many performers would have the skill and intestinal fortitude to be suffering pain and persevere with performing so brilliantly regardless. I don’t think anyone else noticed Nita but all hats off to you anyway. Magnificent.
To the left of Nita is the one and only Tommy Henriksen. No matter whether you’re a fan of War and Peace, Warlock, Big Trouble, POL, Boink (with Glen Sobel) Hollywood Vampires, or any others from the distinguished list, DiS ViciOuS one is THE man. In fact, anything great in contemporary rock, anywhere in the world, ever, probably had Tommy’s masterful contribution at some critical point. The list of his accomplishments and contributions is too long for a review, too long for an article and too important to make up anything other than a Henriksen Historica reference book Volume One. All one can do is sit back in awe of his unbelievable skill.
At the kit we enjoy the drum dominance of Glen Sobel. The man who Alice Cooper describes as the best drummer in the world, and who is going to argue with Alice, right? Watching his skills during his solo’s, you know Alice Cooper is on the money with his assessment. The secret weapon in Glen Sobel’s quiver of skills is diversity. Picking up the sticks at eleven years old, Glen obviously possessed a wisdom that belied his youth, because he worked, studied and developed until he became recognised as a master drummer in any genre of music and in any environment. Glen is so accomplished, and celebrated by others accomplished that he is sought after all over the globe for his percussive prowess. From Kesha to Weird Al and everything in between (and everything outside those to be honest) the mastery of Glen would be on many fan favourite tracks, without many of those present even being aware that he was at the kit. Its arguably one of the enjoyable aspects of any Alice Cooper show that he selects such distinguished people to make up his ensemble. You could attend twenty Alice Cooper shows over an equal number of nights, and enjoy them all equally by concentrating your attention on one of these sensational musicians, their history, their dominance and their skills all culminating into one show. Perhaps I’m biased, but one Alice show is never enough for me to thoroughly appreciate who is performing and the standard they display each show.
But let’s not forget Chuck’s stage right wing man in the charismatic Ryan Roxie, who burst onto the Alice Cooper scene in 1996. Yet again, vastly accomplished in his own right and my personal favourite performances form the veritable plethora of tunes that make up his musical curriculum vitae, would have to be his contribution to Inhale by James Michael and Ain’t Life Grand from Slash’s Snakepit. But it is in the live performance that Ryan oozes charisma and sensational performance appeal. Yet again, it is a huge privilege to watch a musician who has performed so much with so many, to be classed and a legend and he alone on stage would thrill a crowd to the point of exhaustion.
With all elements and protagonists briefly represented above, I hope to have been successful in portraying the rock and roll reverence owed to each before us in this spectacle, and the sheer magnitude of the magnificent display they together impart.
And as for Alice, this is Forty years since on since the very first Australian headline shows of 1977 and Alice Cooper has never been more engaging, thrilling, commanding and thoroughly brilliant. With each decade performing (yes, decade) he has become increasingly compelling and talented and I don’t make this claim lightly because he was incredible to start with in the band named Alice Cooper in 1968. But, it is said that practice makes perfect and Alice Cooper has set the standard of perfect against which others are measured, and for such a long time. What is most remarkable is that he knows exactly where he fits in the grand scheme of his existence among us mere mortals. In person he is a thorough gentleman who is genuinely interested in each, and everyone he meets. A true megastar with the gift of longevity, and the nature that one feels fortunate to have occupied the same space, at the same time and enjoyed a conversation.
As for this particular Melbourne show, a new experience for all to enjoy, because there is nothing else on this earth that is akin to the particular excitement of an Alice Cooper performance. As the set-list unveils, I watch my young son visibly bursting with the excitement I felt the very first time I met Alice. The same experience I have somewhere in the memory banks when I first heard his tracks performed live, and an odd pride encapsulates me as I watch him singing No More Mr Nice Guy word for word. With fans younger than he in attendance and in equal celebration of Alice Cooper, the unique nature of he and his concerts becomes clear. The memories he has, and continues to provide. The memories his music prompts, having been lifelong and loyal companions in providing the soundtrack to our existence. The rock and roll majesty and relevance that he now conveys to the next generation, but still at the fore performing as strongly as ever.
As would be expected, Poison delights the crowd sending them into a frenzy before Ryan and Nita’s guitars decide that it is time for a brief and amorous interlude atop the fold-backs. A guess when a guitar decides its naughty time, there’s no getting in the way and they don’t care who’s watching. Ten points each for the dismount, by the way. Awesome.
Rather than replicating the entire set-list here, I chose to concentrate of the individual performers who are likely just feeling at work, doing their thing, but to us, they are thrilling us with the show of a lifetime. If they ever have an off night, their commitment to the crowd is of paramount importance, and it would still be a lifelong benchmark for the audience. From Chuck Garrick stalking the stage like a demon, permissively luring potential prey, to Glen’s incredible theatrical skills at every, EVERY beat, culminating in a solo duel between the pair that pounds against your chest throughout, this is rock ‘n’ roll at its finest. Nurse Sheryl integrates into the show in superb fashion, killing off her number one man, yet again, but with the promise of his return after his alter ego has its stage time allotment. My wife is so jealous.
The guillotine takes the head of Alice, yet again but it feels like it’s for the first time. Everything in this contemporary show fits as brilliantly as ever before and, somehow, never gets old. Just as an encore of Schools Out could never be replaced as the show finale, and its appeal is just as fresh as in 1972.
Melbourne is dismissed, but we long for detention as the realisation takes hold that the show is at an end. One of the few shows of all time where you wish would just start again. The show that you want to go back the next night and enjoy it all over again. The one that has me considering that Alice will always be, but will we? I can’t wait for his next return. Where’s my car keys? Because I have to head north for more of this Australian Tour.
|Mon 23 Oct – AIS Arena, Canberra, ACT|
|Tue 24 Oct – Newcastle Entertainment Centre, NSW|
|Wed 25 Oct – Brisbane Entertainment Centre, QLD|
Review Contributed by Casper
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Alice Cooper, the architect of shock-rock, returns to Australia later this year to celebrate the 40th anniversary of his first ever concert tour of Australia. In what is sure to be rock event of the year, Alice will be joined by the original KISS “Spaceman” Ace Frehley, as Very Special Guest, playing KISS classics and his solo hits. The pairing of Alice and Ace brings together these highly respected icons of rock and roll!
The tour commences in Perth on October 17 and concludes in Brisbane on October 25, showcasing an immense body of work across the catalogues of both artists. Tickets are still available at www.ticketek.com.au
AUSTRALIAN TOUR DATES: ‘SPEND THE NIGHT WITH ALICE COOPER’
WITH VERY SPECIAL GUEST ACE FREHLEY, AND STRANGERS
Tuesday 17 October – Perth Arena, Perth, WA
Thursday 19 October – Thebarton Theatre, Thebarton, SA ** sold out
Friday 20 October – Rod Laver Arena, Melbourne, VIC ** new venue
Saturday 21 October – Hordern Pavilion, Sydney, NSW
Monday 23 October – AIS Arena, Canberra, ACT
Tuesday 24 October – Entertainment Centre, Newcastle, NSW
Wednesday 25 October – Brisbane Entertainment Centre, Brisbane, QLD ** new venue
TICKETING INFORMATION: Tickets at www.ticketek.com.au
ALL PHOTOS CONTRIBUTED ROGER BROOKS PHOTOGRAPHY
TWENTY ONE PILOTS
ALL PHOTOS CONTRIBUTED MATT ALLAN PHOTOGRAPHY