Alice Cooper ushers us into the Halloween season with stunning Hammersmith Apollo show

Words: Kahmel Farahani

Pictures: Louise Phillips

There are some iconic bands who’s very presence can make any arena show feel like the most intimate of events, and then there are some who truly thrive in the theatre setting. How appropriate then, that the most theatrical of rock and roll legends is finishing his tour with a pair of shows at London’s Hammersmith Apollo. The father of “shock rock”, the one and only Alice Cooper made his most welcome return to London on Sunday night.

From the moment the lights dimmed, the stage was transformed into the perfectly haunting pre-Halloween spectacle. At age 76, Cooper sounds and look so superb that terms like “ageless” are almost meaningless and cliche. The fact is that Alice is still putting almost every front-person in music to shame in comparison. Tonight’s setlist is something like a pure greatest hits set crossed with a fan chosen set of much loved and lesser played gems.

Tonight’s pre-Halloween concert was nothing short of spectacular, showcasing his signature blend of theatricality and hard rock.

The driving riff of Under My Wheels has never sounded better, and the triple guitar assault only makes it sound. Songs like Bed Of Nails, from 1989’s Trash album, sound particularly lively and heavy with the three guitar players trading licks and solos. On the subject of the three guitarists, it’s truly incredible to watch them bounce off of each other, sometimes literally! Tommy Henriksen is a real riff machine, while Ryan Roxy is such a stylish player that he makes the switching between lead and rhythm seamless. And then there is Nita Strauss.

There is a reason she has named the moniker of “Hurricane Nita” – watching her shred is like watching a masterclass. Her playing is lightning fast but never ever soulless shredding or speed for speed’s sake, and watching her take center stage for solos on Billion Dollar Babies and Hey Stoopid is mesmerizing.

Snakebite from the Hey Stoopid album is another highlight, not least because it’s the occasion for Cooper to bring out the iconic Boa Constrictor. As Cooper prowls the stage the Boa loops its way around his head and gazes curiously at Roxy and Strauss as they solo behind Cooper’s back. It’s one of the most iconic set pieces in the history of rock and roll and it’s as mesmerizing as ever. The rhythm section of Chuck Garric and Glen Sobel is one of the finest in rock and roll today. Sobel’s drum solo is jaw dropping and leads right into Welcome To My Nightmare.

Lost In America is a fantastic addition to the setlist, a harder, more straight ahead and punk flavoured anthem for the angsty teenagers everywhere. He’s Back (The Man Behind The Mask) is the perfect Halloween anthem if there ever was one, equal parts sinister and cheesy complete with projections of a giant Jason Voorhees style mask on the screens.

The Ballad Of Dwight Fry still has the creepiest of auras, managing to relay the tragic end of a character’s slide into madness while also being a damn fine sing along. Snippets of Killers and I Love The Dead are played while Alice is restrained for his iconic guillotine set piece. Even after 50 years, it’s still eye catching and October seems like the perfect time to watch the ever lovely Sherly Cooper parade her husband’s decapitated head around the stage.

Like the greatest fantasy villains, Alice makes a swift return atop a podium for the massive sing along of Elected. After the briefest of pauses, Cooper and band return for the encore. Schools Out is the joyous carnival of an anthem to end them all and Cooper and band kick and pop the giant balloons being thrown out to the crowd. It’s a jubilant end to a flawless gig.

Tonight’s gig was rock, schlock and horror, all married together by one of the greatest bands touring today. An unforgettable Halloween experience from the king pumpkin himself, Alice Cooper proved once again that nobody comes close to him, even after more than 50 years.