The Poor photos by Lisa Perry
KISS photos thanks to Jimmy Wah from Sense Music Media
After several stop start efforts to get their End Of The Road World Tour to Australia due to the pandemic that shall not be named, KISS – the hottest band in the world – finally arrived on our shores earlier this month.
With almost 50 years of servitude to rock and roll, KISS are one of the few bands in the world who need no introduction, their contribution to the global music scene insurmountable and their passion for life, music and their fans second to none.
One of the first things that caught my attention about their Australian leg of the tour was that each show featured a different Australian band as support, opening up the opportunities for exposure and recognition for what is undoubtedly one of the best musical nurseries in the world.
Dead City Ruins, Rival Fire, Dallas Crane, Battlesnake, The Superjesus, Legs Electric, Wolfmother and Tumbleweed have all played or will be playing before the travelling finale leaves these shores, but tonight it was the turn of iconic Australian rock outfit The Poor to show their wares.
Armed with their first new music in forever courtesy of recent singles Cry Out and Payback’s A Bitch, The Poor fronted stage as if they had a point to prove – which, as anyone who appreciates classic Aussie rock will tell you they don’t – bouncing into earshot with the rock/blues swagger of Tell Someone Who Cares.
Looking around at the already large but still rapidly growing crowd it was easy to spot the long term fans, smiling as they sung along with vocalist Skenie who had the crowd in the palm of his hands from the outset.
He ran from one side of the massive stage to the other, stopping only to strap on his guitar fleetingly for select songs, if only to give lead guitarist Daniel Cox momentary respite from smashing his guitar strings as though they had stolen his lunch money.
It’s worth noting here that Cox became a father not long before flying out for the show, so it’s hard to tell if it was the magnitude of the occasion or the joys only a father knows were behind his massive grin, but whatever it was the young man should bottle it for future performances.
The man was on fire, playing possibly the most ferociously brilliant set I have seen from him (and I have seen a few).
Running through Trouble With The Law, the new singles, Man Of War and Poison, The Poor utilized every ounce of their punch and experience, thanking their diehard fans while also acknowledging the many new ones staring happily back at them.
The highlight for me was the recent addition to the setlist Love Shot from the 1992 Rude, Crude & Tattooed EP, but of course the biggest crowd favourite by far was The Poor’s classic number More Wine Waiter Please, complete with Skenie’s customary shout out to the bar staff to provide a round of shots to the assembled masses. While that didn’t eventuate, surprisingly, The Poor had done more than enough to prove their upcoming album to be released later this year through Reckless Records will be worth the wait.
They epitomize the true Aussie spirit of music and are still, as ever, one of the benchmarks of rock music in this country.
By the time they closed with Only The Night and Skenie had leapt from the stage and run into the arms of the appreciative fans sitting near the nosebleed section, the crowd were more than well-oiled for the main event.
Massive statues of each of KISS’ four members flanked either side of the stage, creating a sense of foreboding and grandeur without the band even playing a note. It was a great and fitting tribute to KISS, creating an almost colosseum type atmosphere that only intensified as the countdown to showtime drew nearer.
Large screens followed the band on their journey from their dressing rooms to stage, whipping the crowd into a frenzy before they even caught sight of the headlining act.
Now, I have seen KISS before and went in fully prepared for a large scale spectacle of epic proportions but quickly realized I should have thrown all of those preconceptions aside because nothing in the world EVER could have possibly prepared me for what was to come.
As the curtains dropped and KISS (almost literally) exploded into Detroit Rock City the full magnitude of tonight’s event hit like a high heeled platform boot, revealing a visual spectacle fitting of the farewell to a band who have cast light onto the world through their music for almost half a century.
A massive screen monstered the back of stage while two snarling beasts cornered drummer Eric Singer, their eyes a menacing glow of green that seemed to bore deep into the souls of the sold out stadium.
Eleven pod like screens adorned the roof, each beaming different images that often swirled into one living entity that accentuated the constant stream of images, photos, graphics and file footage on the big screen that ensured even those seated in the back rows felt like they were a welcome part of the action.
While Singer pounded his drum kit, Paul Stanley, Gene Simmons and Tommy Thayer glided downwards from the roof, attacking their instruments with gusto as they descended to the stage like fallen angels, smiles painted across their faces thicker than any make up could dare do justice.
Fireworks went off, flames roared, and pyrotechnics sent those with weak hearts scurrying for cover, the heat from the flames adding a sense of urgency and danger to proceedings that continued throughout the extended set.
Stanley gyrated from one side of stage to the other, blowing kisses to the crowd and mouthing the words “I love you”, in the process sending hearts swooning and pulses racing as each member of the crowd responded with longing stares of adulation that accompanied each loving glance.
Before the first song had even finished KISS had already justified every expectation and more.
This tour isn’t just a thank you and goodbye to fans, it is a celebration of achievement and the connection only music can make.
Deuce and War Machine followed, with the crowd singing every word with or back at the band with gusto and enthusiasm, the reality that each passing song brought them closer to the end seemingly irrelevant as the magnitude of each moment surpassed the knowledge that this would be the last time most of the assembled crowd would get to share an intimate moment with a band that for many have been around longer than they have been alive.
It was fitting that the demographic of the crowd fluctuated between late teens and those with graying features, exemplifying the broad appeal of a band who have been major players in the lives of generations of music lovers across the globe.
After I Love It Loud, Simmons disappeared from view briefly before emerging carrying a flaming torch and the chants of expectation rung out as the demi God prepared to rain fire upon his chosen warriors one last time.
It had the desired effect, sending the crowd into raptures before Cold Gin pierced the night and sent the crowd into a frenzy that culminated in the customary fire rockets expended from the guitar head of guitarist Thayer who teased the crowd playfully before each sonic blast, winking at sections of the crowd before firing off each shot in celebration.
The guitar solo that surrounded each ball of fire was scintillating, showing off the technical prowess and lightning fast fingers of the new guy in the band who has only been there for the last 20 years.
Thayer stole many of the night’s bigger moments with his solo’s, lighting up the stage with his smile more than any pyrotechnics could in anger.
But, of course, KISS has always been larger than one man and Stanley and Simmons both had many moments in the spotlight, recreating much loved antics that engaged on a personal level with each person fortunate enough to be standing in front of them.
Simmons was presented with a birthday cake on stage that he proceeded to obliterate with his fists before sending pieces flying into the crowd and down the throats of those within firing distance.
He continually waved his legendary tongue at every opportunity, menacing while entertaining in a way that only Gene Simmons ever could. One of the highlights for me was when a female member of the crowd declared her undying love for him (she is only human after all), to which Simmons shook his finger and pointed at the ring on his wedding finger, in the process crushing the hopes and dreams of men and women everywhere.
Singer had his moment to shine during a drum solo following Psycho Circus/ 100 000 Years that elevated him a considerable distance over the crowd, but it was obvious that Stanley was the man in demand, as every move made by the great man was met with stares of longing and appreciative applause at every turn.
He continually thanked the crowd, offering up old stories about certain songs and moments of significance from the bands career, but if was his flying effort during Love Gun that saw him soar majestically over the entire dancefloor before coming to rest at the foot of the rear grandstand that perfectly captured the essence of this performance.
KISS wanted to engage on a personal level with each person there – not just the fortunate few at the front – and did everything in their power to make each of their adoring fans feel that special slice of KISS magic before leaving the stage.
By the time the inevitable closer of Rock And Roll All Night swung into gear, met by wave after wave of Kiss Konfetti, fireworks, balloons and smoke there was hardly a dry eye in the house.
KISS had achieved what they set out to do by going out with a massive bang befitting their contribution to music, and Stanley’s question of “Did ya get what you came for?” was met with a resounding yes – and then some.
As the music faded and the smoke cleared KISS bowed to their legion of fans, with Stanley summing it perfectly with two words that will long live in their hearts of everyone there.
Two simple words that couldn’t put things any better.
“Fuck yeah”
