Review: Alice at the Palace a memorably fun night Friday, July 19, 2013 By Brian McElhiney (Contact) Gazette Reporter Text Size: A | A ALBANY â At this point, everyone knows what to expect from an Alice Cooper concert â namely, loud guitars, crazy set designs, plenty of fake violence and one of rockâs most outrageous frontmen in full flight. The horror show rocker and his five-piece backing band hit all these checkpoints Friday night at the Palace Theatre, rocking out a decent-sized â but not full â crowd for nearly two hours with all the usual hits. At this point, Cooperâs brand of shock rock isnât so shocking, but it sure is fun. And just to keep things interesting, Cooper managed to throw in a few surprises that, while not game-changing, helped to make the show another memorable experience. The first and most readily apparent of these surprises was the band itself, in particular new lead guitarist Orianthi, who brought an interesting and entirely welcome feminine dynamic to Cooperâs already-stuffed stage show. Her playing was the best of the bandâs three guitarists, and Cooper must know this â she was given the solo spotlight more than the other two players onstage. Kicking things off around 8:15 with âHello Hooray,â Cooper immediately and easily settled into his villainous rock star persona. There was no stage banter until the very end of the night, as Cooper snarled his way through song after song, swinging around various props ranging from a sword covered in fake money on âBillion Dollar Babies,â to a crutch on âIâm Eighteenâ late in the set. For the first half of the set, though, Cooper seemed to be holding back on the theatrics â relatively speaking, of course. Besides a few props, and some back and forth between himself and Orianthi during âIâll Bite Your Face Off,â the stage and show were kept simple, with the focus on the bandâs steely playing. Classics such as âUnder My Wheelsâ and âBillion Dollar Babiesâ got the modern treatment, with this band providing plenty of muscle and just enough groove to keep things moving. Although a little more of the original Alice Cooper bandâs â70s sleaze would have been welcomed on these cuts, this lineup definitely held its own. Mid-set jam âDirty Diamonds,â which featured particularly brutal soloing from bassist Chuck Garric and drummer â and Albany native â Glen Sobel, was a turning point in the set. From there, the energy climbed on each successive song, from the perfectly eerie âWelcome to My Nightmareâ to the sinister âGo to Hellâ and âDevilâs Food.â âFeed My Frankensteinâ featured a comically large Frankensteinâs monster puppet roaming the stage and mouthing the lyrics (its jaw fell out early on, but the bit was still pretty cool). The best was yet to come. Following Cooperâs traditional âdeathâ during âBallad of Dwight Fry,â the singer came back to âRaise the Deadâ â also the name of this tour â with a handful of classic rock covers including The Doors (âBreak on Through (To the Other Side)â), The Beatles (âRevolution,â with Cooper giving an uncanny John Lennon impression), Jimi Hendrix (âFoxy Lady,â another showcase for Orianthi) and The Who (âMy Generationâ). The band then roared back into its own material with âIâm Eighteenâ and âPoisonâ to close the main set on a high note.
Posted on: Sat, 20 Jul 2013 19:15:52 +0000
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