Review by Jordan West
Photos by Joe Schaeffer
The so called “arena rock” heyday of the 1970s and 1980s has long passed, but every now and then, an act or two has been able to resurrect those glory years, and do it well, much to the joy of the “classic rock” audience, who are some of the most faithful of attendees to concerts in arenas and stadiums. Every summer, acts from years gone by, play outdoor amphitheaters, or “sheds” as they are known, and crank out the old songs to a legion of fans both old and new. Re-living their youth and passing it on to a new generation of rockers is always nice to see. Lately though, the herd is getting thin, as a number of the biggest names in the genre have either passed or mercilessly retired.
In the fall and winter, arenas take over, and in Los Angeles, it has been commonly known as “Rocktober.” Many bands that have been touring all summer have returned and are winding their way down to the end of the year, usually taking a break over the holidays. Luckily, LA has many places for these shows. The fabulous Kia Forum, where so many legendary acts and shows have happened since it’s opening in 1967, was the scene of an exciting mix of bands that made their bones during the “glory years” of classic rock and heavy metal.
On a Saturday night in “Rocktober” fans flocked to the Forum for a double dose of headliners and it gave a glimpse of two of the best “Rock and Roll Hall of Fame” inductees who are still at the top of their game, Judas Priest and Alice Cooper. Both of these acts seem to have been re-energized since their inductions and have been touring and releasing new music at a rate that almost rivals the “glory years” when bands were releasing product nonstop and touring to promote it.
Opening the show was Los Angeles band Corrosion of Conformity who rocked a quick, seven-song set that featured their grungy, bass heavy style of rock to the still-arriving crowd. Singer Pepper Keenan asked the crowd to shout out who had seen the band before, and quipped., “You ought to have, we have been playing here since we were kids.” They dedicated their 1994 song “Albatross” to the recently departed Kiss guitarist Ace Frehley, which was a nice gesture, sincerely declaring what a treat it was for them to be playing at the Forum, before finishing their set with the ultra-heavy head-banger, “Clean My Wounds” that had Keenan and guitarist Woody Weatherman trading blistering licks on their guitars, much to the enjoyment of all in attendance.
After a brief set change, rock’s ultimate showman, the legendary Alice Cooper and his band, took the stage. As the image of an old attic showed on the video screen, and a voice-over of Cooper telling the audience that “They have wandered into Alice’s Attic” (in a nod to the radio show that Alice Cooper hosts), soon the stage spotlighted a large book, which opened its cover to reveal Alice Cooper himself, dressed in black and wearing a black top hat and clutching a sword, as the band opened with “Who Do You Think We Are” and “Hello Hooray.” In keeping with Cooper’s spooky persona, it was the perfect way to welcome in the upcoming Halloween season.
Cooper stalked the stage on top of a long platform that stretched almost its entire length, and would feature throughout the evening, enough room for Cooper and his entire band (excluding his exceptional drummer, Glen Sobel, of course, who stayed behind his drum kit) to use as a place to claim the spotlight, or rock out as one. Over the course of the show, this was the case on multiple occasions and added to the outstanding theatrics.
Long-time Cooper guitarist Ryan Roxie, who really is the anchor of this band, cranked out the familiar opening chords of the Cooper classic “No More Mr. Nice Guy” to which the now filled arena erupted and sang along. Roxie and fellow lead guitarist Nita Strauss were everywhere. They were in constant motion throughout the show, roaming the stage, from end to end, while third guitarist Tommy Henriksen and bassist Chuck Garrick mostly stayed close to stage left and stage right respectively.
Cooper, as always, is the main focus, although there are plenty of visuals throughout the show to keep your eyes on. During the long-time favorite “I’m Eighteen” Cooper used a crutch as not only something to lean on, but also as a pretend rifle to shoot his audience. “Feed My Frankenstein” had Cooper ascending the stairs with his arms outstretched, just like Boris Karloff did in the original film. Later on in the song, a large Alice Cooper “Zombie” appeared onstage and taunted the band. “Dirty Diamonds” had Alice throwing glittery necklaces into the audience, as the four guitarists rocked together on the raised stage platform. Alice Cooper shows are always entertaining. One will certainly never get bored watching this onstage macabre theater in action.
The video screen was a huge part of the production as well. During “Caught in a Dream” a song from 1971’s Love It to Death LP, a “Dreamcatcher” was projected onscreen, and had dangling feathers and skulls, as well as spooky images of the band in its center. Ryan Roxie’s solid guitar runs really gave this song a boost from its original version. As the band played “Hey Stoopid” an actor playing a “press photographer” kept getting in front of the band members and annoying them. Again, there was lots of theatrical fun. All the while Cooper crooned the phrase “Hey Stoopid” while the “photographer” was doing his business onstage.
“Poison” from 1989 ‘s “Trash” release got a great rise out of the crowd who sang in unison with Cooper and the entire band on the chorus, before the spotlight lit up guitarist Nita Strauss, who performed and extended and jaw-dropping solo. I must say, she has been such an incredible and inspiring addition to this band, and over the years has become a huge part of the show. Her technique is extraordinary, and her stage presence is stunning.
During “Brutal Planet,” Cooper was forced off stage by a pair of zombie orderlies only to return wearing a straight-jacket, and while bathed in a spotlight, and kneeling at the front of the stage, he crooned the spooky classic “Ballad Of Dwight Fry.” Another classic, “Cold Ethyl” Cooper’s 1975 homage to a necrophiliac, was followed by the tender ballad “Only Women Bleed,” which featured onstage dancing from Cooper’s real-life wife, Sheryl. More scary onstage theatrics ensued with the beheading of Cooper with a guillotine as the band played on.
As a bell sounded over the PA system, and the powerful and recognizable intro to Alice Cooper’s biggest hit, 1972’s “Schools Out” rang out, Cooper re-appeared centerstage, wearing a white top hat and tails, and clutching a cane, then led the band and the singing audience in the set-ending anthem. Giant balloons, filled with confetti were dropped on the audience, who, just like Cooper himself, happily popped them, drenching themselves in the brightly colored paper bits. As Roxie, Strauss, and Henriksen, all jammed and Garrick and Sobel held down the bottom end, Alice Cooper looked on and smiled. After singing the chorus of Pink Floyd’s “Another Brick in the Wall,” Cooper addressed the audience. “Well, well, well. Los Angeles California, Alice Cooper finally SPEAKS to you!” He then introduced each band member, as well as his wife, and quipped “playing the part of Alice Cooper: ME,” he added before the band tore into the coda of the song and confetti cannons erupted at songs eventual end. As always, and as all of his fans have said for years, the words “What a SHOW” was heard all around the arena.
So how do you follow that? Not many are worthy. One way that I can think of, is by a set of blazing, classic metal by one of the most popular and loved band of the genre, British leather-bound icons Judas Priest, that’s how. The last number of years for this band has been quite eventful. Long-time guitarists KK Downing and Glen Tipton have left the band and been replaced by Richie Faulkner and the band’s producer Andy Sneap. The band was also FINALLY inducted into the “Rock and Roll Hall of Fame” in 2022 and released their 19th studio album Invincible Shield in 2024, and have been touring behind it, globally. This co-headlining tour with Alice Cooper was greatly anticipated, and they certainly gave the fans their money’s worth in Los Angeles.
After Black Sabbath’s classic “War Pigs” blasted out over the Kia Forums massive PA system, the stage lights flashed, and Judas Priest erupted onstage with the appropriate song “All Guns Blazing” from the 1990 LP Painkiller while the band, Faulkner, Sneap, original bassist Ian Hill, and drummer Scott Travis provided the firepower, singer Rob Halford was in vintage form, sporting a long bejeweled leather duster coat, and gripped the microphone with both hands while belting out a myriad of his patented primal screams.
“Hell Patrol,” also from Painkiller, preceded a trio of Judas Priest’s most popular numbers, “You’ve Got Another Thing Comin’,” with its chugging guitar and 4/4 heavy beat, had the fans singing the chorus, much to the white-bearded Halford’s delight. “Freewheel Burning” and “Breaking the Law” upped the tempo a bit and gave the fans a chance to raise their fists and yell, much like they did in their youth, and these songs were new. Halford even did his famous “Shimmy” in between Faulkner and Sneap during the latter, as he has done for years.
Judas Priest slowed down the pace a bit for the song “Touch of Evil” yet another number from Painkiller, and it featured the pounding sounds of bassist Ian Hill, as well as a creepy, circus snake-charmer video shown on the screen behind the band. The background video and especially the lighting were exceptional all set long, and I commend their production team.
Soon the band’s “Trident” insignia glowed blood-red, and was illuminated at stage left, as the intro of “Hellion” gave way to its companion song “Electric Eye.” Richie Faulkner crouched stage right and tore into the song with a fever on his Gibson Flying V guitar, banging his head as he took turns with Andy Sneap on some classic metal guitar riffing. All the while, the wandering and pacing Rob Halford, after yet another in a series of coat changes, directed the crowd to sing. The band was now, as they say, “firing on all cylinders” like a well-oiled metal machine.
Halford saluted the adoring crowd once again. He actually sat on a folding chair, raising his arms to egg on the crowd to cheer loudly and succeeded. He then set his gaze upon the Forum audience and reminisced. “We’ve been together a long time” He told them. “56 years in fact!” He then spoke about the power of Rock radio, exclaiming “Music IS eternal.” The band then launched into “Giants in the Sky” a song from their latest Invincible Shield release. Video showed giant radio towers, therefore explaining the gist of the song. Toward the end of it, the faces of a number of musicians who have passed were superimposed on the screen. The last one was the late Ozzy Osbourne, in which Halford screamed “Ozzy, Ozzy” as a tribute to his friend and colleague.
Drummer Scott Travis supplied the locomotive-like drum intro that jump-started the title track to Painkiller. This song has been known to absolutely shred the throats of mere mortals who have attempted to sing it. But Rob Halford is “The Metal God” and handled this difficult shrieker with relative ease. It was truly a magnificent and impressive thing to see and hear, especially at this stage in his career. A true “Hall of Famer” in the world of heavy Metal on display.
The sounds of a revved up Harley Davidson was soon heard, and signaled the coming of the Judas Priest classic “Hell Bent for Leather” as well as Halford riding through the fog from stage right aboard a classic Harley, adorned in a leather cap and clenching a riding crop in his teeth as he steered his trusty steed to center stage. He sang the song while astride the bike, as he has done so many times in the past. This is what Judas Priest is all about. Black leather, motorcycles, and loud, fast-paced heavy metal, with a screaming crowd enjoying every minute of it.
This led into the set ending “Living After Midnight” that had the entire Kia Forum on its feet and singing every word. The love of this band from their audience brought to mind the ghosts of the classic short film Heavy Metal Parking Lot that was filmed at a Judas Priest concert in the mid 1980’s. The current Kia Forum parking lot costs $60 per vehicle, so a lot has changed. Not Judas Priest. They really are unique in their brand of British metal and continue to be the standard by which so many bands have strived to become.
Before the show, it was announced that Judas Priest had donated $100,000 dollars to the Los Angeles Fire Dept to help those who suffered damage from last year’s horrific and devastating wildfires. A class act, for sure. As they stood centerstage after their finale, they were saluted by their loyal fans, nearly raising the roof on the Kia Forum as they did all evening. It was quite an eventful night in Los Angeles. Seeing some of the best and most entertaining acts in rock, going toe-to-toe, with a show for the ages. For all ages, in fact. And aging quite gracefully, I might add.
