Alice Cooper, London 02, review by Dawn Osborne

ALICE COOPER. THE STRANGLERS, MC50, London 02 2019

 

MC50 kicked off the show and, aware that as support they need to make an impression very quickly to keep people in their seats, they started up with ‘Ramblin Rose’ and featured big hit ‘Kick Out the Jams’ right at the beginning. It was a much more rock n roll set than the last time I saw them and is a straightforward hi energy show without the psychedelic elements evident at their anniversary Shepherd’s Bush show about a year ago. They meant business with a big slice of heavy blues and an emphasis on the visual with American flag guitars aloft from live wire Wayne Kramer in a set which was short and entertaining. They ended with an ‘ode to nymphomania’ ‘Sister Ann’ and after a couple of anti Trump sentiments and warnings to Boris about accountability ‘Looking at You’. They judged the crowd well and, as a good support band should, upped the vibe.

 

It was the first time I had seen the Stranglers and so was quite curious as to what it would be like into their fifth decade. Now fronted by Baz Warne who has been a member only since 2000 they were a different animal to what I remembered from Top of the Pops in the 70s, although there were still two original band members on stage on bass and keyboards. Looking back it’s strange that they were categorised as a punk band as neither their material or their image was that punky by say Sex Pistol standards, ever, even way back when. Certainly now what remains are iconic songs that stand the test of time. So as long as you are not expecting a young punk band, which the band never ever were, in any event, then what you get are versions of the classics that are, in fact, pretty true to the studio recordings. They were wise to include all the hits and I enjoyed seeing ‘Get a Grip on Yourself’, ‘Nice N Sleazy’, ‘Golden Brown’ and ‘Peaches’ with its wonderful bass line still delivered by JJ Burnel. The Dione Warwick cover ‘Walk on By’ was a bit of a surprise and maybe not that essential to the set, however as the show ended with ‘Hanging Around’ and ‘No More Heroes’  I was reminded just how many great songs they had. How suited it was to an opener for Alice, other than the creepy name of the band (which it is hard to imagine a new band using in 2019), I am not sure.

 

Alice never disappoints and this time he had changed it up a bit by having a set designed like a castle with turrets and crenellations. Kicking off with ‘Feed My Frankenstein’ Alice came on in a black topper and heavy leather coat with silver embellishments and strode up and down greeting the crowd and shaking his silver topped cane at them with a Hollywood Vampires motif on top to match the silver motif on his boots. Famously a team player during  ‘No More Mr Nice Guy’ he allowed his three guitarists and bassist to get a bit of the photo action providing the riff firepower while he presided behind a semicircle of spikes and skulls at the back. The first three tracks were completed by ‘Bed of Nails’ from his 80s metal era: starting off with three monster tracks.

 

There was then a switch to lesser known material ‘Raped n Freezin’, ‘Fallen in Love’, ‘Muscle of Love’ and ‘He’s back (The Man Behind the Mask). By this time we are well into theatrics with teenage extras being slaughtered on the stage left and right. After the well known ‘I’m Eighteen’ which featured guitarists Ryan Roxie and Nita Strauss frontstage we are almost mid way into the show when in ’Billion Dollar Babies’ against graphics of deceased infants with glowing eyes many green dollar bills are catapulted into the audience while Alice brandishes his sword. Crowd favourite ‘Poison’ gets a big cheer as all four guitarist get a chance to shine at the front. Nita appears on a turret in a hood and gets a big solo spot before Alice returns after a wardrobe change for ‘Roses on White Lace’ with Sheryl as a featured dancer as a ghoulish bride in white ragged bloodstained wedding dress, roses and candles. As in the Kane Roberts video for  ‘Beginning of the End’ they shared a passionate kiss on the castle ramparts before Sheryl tossed her bouquet of roses and Nita catches it, although somehow due to the context we feel it is not a blessing, rather an omen’

 

During ‘Black Widow’ Ryan Roxie gets a solo slot and there is a grand drum solo with double handed stick twirls. In a loud and raucous version of ‘Steven’ in contrast to the slightly understated creepy studio version Alice appears in a straight jacket with ominous undertones. Sure enough In ‘Dead Babies’ Sheryl appeared again in Spanish style black and red with a pram before Alice is guillotined for killing the baby and a large inflatable zombie baby appeared inside the castle turret and invaded the stage running amok for ‘I Love the Dead’. Fortunately Alice is resurrected for ‘Teenage Frankenstein’ in topper and red tails. Soon we are into the encore ‘Under My Wheels’ and ‘Schools Out’ when the band is joined by original bassist ‘Dennis Dunaway’ while gigantic black and purple balloons with dead baby motifs, white confetti and gold glitter shower the crowd.

 

Always a spectacle Alice managed to introduce enough new elements into the show to keep the classics fresh and interesting. Invigorated by guitarists with tireless energy including the fireball Nita Strauss he delivered a show not only full of big theatrical elements, but also one which would stand up as a rock n roll show if stripped down to the basics due to the talent and commitment of his band to the cause.

 

Dawn Osborne