Getting your Trinity Audio player ready...

Live at Pacific Amphitheatre

August 21, 2024 Review by Todd Markel

The term “legend” is often overused, but in the realm of rock ‘n’ roll, Alice Cooper unquestionably earns the title. For decades, Cooper has captivated millions, once terrifying parents and thrilling fans with his theatrical, groundbreaking performances. My own introduction to his music was typical of many fans – an older sibling introduced me to Cooper with the album “Killer” and its numerous classic songs, and soon I, along with countless others, embraced the anthem of “School’s Out” and its rebellious spirit. Needless to say, when this show was announced, my eyes lit up with excitement.

On a balmy summer evening in Costa Mesa, amidst the vibrant chaos of the Orange County Fair – complete with rides, games, and all the nostalgic trimmings – a different kind of spectacle awaited those heading to the Pacific Amphitheatre. There is no need for an opening act when your headliner is Alice Cooper.

The stage was shrouded in a black curtain with ominous figures in plague masks ringing bells, as if tolling our impending doom. As the curtain fell, a banner reading “Alice Cooper Banned in California! Trial set: for deeds against humanity” lit up, flanked by grinning demon characters.

Cooper made his grand entrance through the center of the banner, impeccably dressed in black, wearing a top hat, and waving a sword around, as they kicked things off with a condensed version of “Lock Me Up” before swiftly moving into the high-energy “Welcome to the Show.”

Backing Cooper was a stellar lineup of musicians: Nita Strauss, Ryan Roxie, and Tommy Henriksen on guitars, Chuck Garric on bass, and Glen Sobel on drums. Each brought their own style and flair, with Strauss, in particular being a fan favorite, delivering electrifying solos that kept the audience riveted.

Cooper’s command of the stage was undeniable as he led the band through classics like “No More Mr. Nice Guy” and “I’m Eighteen,” the latter of which resonated a little differently with each listener, regardless of their age. Cooper utilized an old crutch as a prop, swinging it overhead and playing a little air guitar with it. We’re just four songs in and this show is already “electrifying.” The band is tight and talented with obvious respect and reverence for their boss.

The night continued with timeless hits such as “Under My Wheels” and “Billion Dollar Babies,” alongside deeper cuts like “Snakebite” and “Lost in America.” The theatrics escalated with “Welcome to My Nightmare” which preceded the song that became the big hit for that album, “Cold Ethyl” with its lighthearted look at necrophilia. 

As the band played, Cooper danced and interacted with a limp Ethyl dummy. Next, the stage came alive with a video of animated skeletons and dramatic red lighting for “Go to Hell,” where Cooper told us that “You Can Go To Hell” while he has a skirmish with a demoness, a role now performed by his daughter Calico, adding to the night’s theatrics.

A highlight was “Feed My Frankenstein,” during which a towering 12-foot Frankenstein monster appeared on stage to menace the band. After which the lights dimmed and a vintage video clip of Vincent Price played, adding an extra touch of nostalgic horror.

Strauss then appeared on top of a large platform for a blistering guitar solo before coming down to trade licks with her fellow guitarists and then rejoining the band for a grand finale.

Cooper reappeared on stage, all wrapped up in an old-fashioned straight jacket with one arm free, allowing him to sing into a microphone for the “Ballad of Dwight Fry.”

This song cumulates in the very dramatic and theatrical execution of Cooper by guillotine, aided by the previous demoness who then proudly holds his severed head up for all to see.

A large staircase platform decked out with American flags was wheeled out front and since it’s election season, Alice Cooper lets us know that he wants to be “Elected” with his hit song of the name which asks the question “Why Not Me?” It was another huge sing-along that cumulated in the band coming to the front of the stage to address to the crowd. At its triumphant conclusion, a smiling Cooper held up his finger and asked the crowd, “One more?” to which they reply in deafening affirmation.

When a school bell rang, I think we all knew what song was next. Cooper, now dressed in a white top hat and tails, waved his swagger stick back and forth as smoke-filled bubbles fell everywhere for the epic “School’s Out” finale. The audience joyously sang along to “No more pencils, no more books.” Large balloons were tossed into the crowd, adding to the festive atmosphere. As a playful nod to Pink Floyd’s “Another Brick in the Wall,” they sang a little bit of “We Don’t Need No Education.”

Cooper finally spoke to us to introduce his excellent band and his daughter to the crowd, playfully adding, “I don’t know where she gets it.” After egging the crowd on a little, they finished with a reprise of “School’s Out” to a climactic ending and thunderous applause from the full house.

Cooper left us with “a final wish from all the band and myself, that all your nightmares be horrific.”

What a wonderful show this was. I believe all who attended would be talking about it for days to come. Alice Cooper is 76 years old and still one of the best!

SHOW PHOTO GALLERY

by Todd Markel Rock Images

<<Swipe To View Photo Gallery>>

TO FOLLOW

SID 240820 | TRACI TURNER | EDITOR