Gig Review: Alice Cooper + Blondie at Newcastle Entertainment Centre

Live review: Alice Cooper, Blondie, Psychedelic Furs and Wolfmother at Newcastle Entertainment Centre, Tuesday, April 23 2024

By PAUL SOUTHWELL

THE Pandemonium Festival was indeed aptly named. Ask anyone who witnessed the various chopping and changing between the festival’s first announcement of a dozen bands across two giant stages, and the actual finalised, halved line-up on one stage – not to mention the underwhelming compensation olive branches offered to disgruntled punters, unable to express their discontent on comment-blocked pages. As such, two all-ages sideshows of what initially entailed Blondie, Wolfmother and the Cosmic Psychos on one night, and Alice Cooper, Deep Purple, and Gyroscope on the other, morphed into the second night, reviewed here, consisting of Alice and Blondie effectively co-headlining, with truncated support sets from The Psychedelic Furs and Wolfmother. 

So, from a value perspective – depending on your tastes and availability to attend the second night – the alternative offered combined show wasn’t too bad. But how that actually panned out for those seeking partial refunds or merchandise options is still unresolved. That is beyond the realm of this review, but it would be remiss not to mention that the lead up to this event was anything but smooth sailing for consumers. Based on the substantial attendance this evening, it would appear most cut their losses and proceeded to let Uncle Alice’s hard rock vaudeville dissolve their concerns for an evening.

To open up, as fans were still being escorted to their seating locations, guitarist and Wolfmother front man Andrew Stockdale led his again three-piece through a selection of primarily older, established tracks, to a fairly solid response from the Newcastle rock crowd. Aside from the funky groove of 2021 single “Midnight Train” and the pentatonic riff filled title track from newer album, Rock Out, the rest of the set came from the debut 2005 Wolfmother album. 

In that light, starting with the wah pedal infused “Dimension”, it wasn’t long before the vocal driven “Woman” and tightly executed “Apple Tree” were delivered, allowing the new rhythm section of bassist James Wassenaar and drummer Christian Condon to explore the odd musical interlude, as Stockdale ventured into some controlled guitar soloing improvisation, throwing in some finger tapping and briefly holding the guitar behind his head. The climbing guitar lines of “Joker and the Thief” followed, with the set closing track, “Colossal” utilising feedback howls and time signature changes, leading to the bombastic end.

As the next changeover was performed as quickly as possible, the live rig for The Psychedelic Furs appeared, to accommodate a six member line-up, which included the digital age twin guitar rigs of guitarists Rich Good and touring guitarist, producer Richard Fortus on stage right, with Amanda Kramer’s riser located keyboard rig, behind, bassist Tim Butler’s stage spot, with the drummer Zachary Alford’s kit copping most of the bass rig. 

Snappily dressed in either sports jackets or leathers, depending on the musician, the first song aired for their all-too-brief set was the emotive “Mr. Jones” from the classic Talk Talk Talk album. Front man Richard Butler’s distinctive vocal vibrato and somewhat Bowie-esque expressionist stage mannerisms enhanced the mood set by the synth and delay effected guitar lines that echoed throughout the venue, punctuated by Tim Butler’s prominent bass sounds, as he strolled about the stage, barely cracking a smile. 

Notable pop track “Love My Way”, a lyrical track from the Forever Now album which was before its time, had pace and harmonised guitar parts, the built the harmony line’s reprised sections with style. Huge hit “Pretty in Pink”, a song that was reinterpreted by audiences in the mid-eighties for re-release with a film of the same name, wafted over the audience with pop filled ease. The jangly guitar overtones, mixed with the keyboard wash sounds and muted rhythm lines gave the cynical lyrics a free pass. But it was the gritty, more raw sounding “President Gas” that demonstrated the understated bite that the band has, both lyrically and musically, even with sweeter backing vocals. The guitar soloing also had more of that goth feel, with piercing notes and whammy bar embellishments. 

The volume swells, and twin guitar interplay, with added electric cello from Fortus, gave “Heartbreak Beat” from Midnight to Midnight and edgier vibe, with keyboard and guitar lines adding arpeggiated lines to conclude the chiming song. To conclude their set, “Heaven” from Mirror Moves provided more initially bouncing pop rock that shifted energy with commanding vocals, as a mid-song melodic musical section then added some drumming prowess from Alford. The Psychedelic Furs were the perfect support for the upcoming Blondie set.

Blondie’s stage set took things up a notch, as an animation screen was soon to be deployed for a variety of song related visuals. Keyboardist Matt Katz-Bohen’s larger rig was at the back of stage right, whilst at stage left, the bass bins and assorted tools of trade for punk rock veteran, bassist Glen Matlock, hinted at the power to come. Central to this was the Perspex screened, and cymbal filled drummer kit for original Blondie member, Clem Burke. With front woman Deborah Harry’s position obviously at front centre stage, she was flanked by the outward angle pointing twin guitar amplifier rigs of classically trained, New York City version of Blue Man Group member, Tommy Kessler, at stage left, and the similarly set up rig of KMFDM German industrial metal band guitarist, Andee Blacksugar. So, this was not going to be a pop show, and anyone now knowing the history of Blondie and their punk rock, New York CBGB’s scene roots, was soon to be educated. 

As sirens filled the air, and the light show reinforced the sonic blast, the band took up positions and launched into debut album, Blondie, track “X Offender” that still had a huge amount to fire power, which vintage fans would have first witnessed for Blondie’s first tour here in the late seventies. Wearing a bright pink suit, sunglasses and white sneakers, Harry’s stage presence was mesmerising, and her voice still has the projection, timbre, and recognisable pitch.

Some arrangements of songs may have been understandably adjusted, with additional backing vocals from band members, but her attitude and sassiness was formidable, as she engaged the crowd with amusing anecdotes as Blondie trotted out hit after hit, including their cover rendition of “Hanging on the Telephone”, the tongue-in-cheek stalking ode and seamless key changes of “One Way or Another” from the massive album Parallel Lines, and the harmony layered “Nothing Is Real But The Girl” from the reunion album No Exit. “Call Me” had keytars, soaring guitar harmony lines – slightly altered lyrics to bring it up to date – and an enthused, handclapping audience.

After the comparatively muted, punk vibe of “Will Anything Happen?”, largely a chorus based around a simple riff, one of the show highlights was heard with the furious performance of “Atomic”, starting with the recognisable guitar riff, more harmony guitars, swift soloing and Harry then introducing her band members. The fifties-sounding “In the Flesh” included Harry’s anecdote about Molly Meldrum accidentally playing the B-side to “X Offender” all those years ago, as a contributing factor to Blondie’s Australian profile success. It was swiftly followed by an excellent performance of another seminal track, “Rapture”, introduced by Burke’s grooves, and some funky guitar parts. The song saw Harry carry out some flawless rapping, which combined guitar heavy aspects with trade off guitar solos, branching out with sweep picking and descending neo-classical runs. It all worked with a funk rhythm. Matlock’s bass playing was also spotlit, as some theremin sounds were added. 

Clapping continued with the hit “The Tide Is High”, a rendition that employed unexpected and alternating heavier rhythm sections where various solos were unleashed, and some call and response to the audience ensued. It was a gamble, but their tightly rehearsed skills were in fine form. 

“Long Time”, the Dev Hynes aka Blood Orange penned track from Blondie’s most recent album, Pollinator utilised plenty of spatial dynamics with overall harmonies and melodies pushing the chorus filled song. It was then time for another track from No Exit, with the refined pop of “Maria” embellished with live streaming panels of Harry on the rear projection screen. Burke’s shuffle beat hinted at global hit “Heart of Glass” that led to plentiful sing-alongs, and a diversion into a more disco based vibe, as guitars delved into effects-based sounds over virtuosity. The visuals of a slowing exploding glass heart that was then reversed was fun to watch as the classic track was performed with ease. 

Closing their set, Blondie opted to trot out the well-paced, soulful pop of “Dreaming”, another track from Eat to the Beat, with Harry staring off the track by saying “just a little bit of pandemonium, we don’t care, are you okay with that?”. He then added as the song built up pace “‘we’re not done with you yet, stay right here.” It would take a pretty well-honed act to top Blondie’s set this evening.

Shortly after the stage set of Alice Cooper was being meticulously constructed like massive Lego pieces of some sort of haunted mansion or, staircase flanked court room setting, the curtains were dropped to add to the element of surprise. As the PA pumped out tracks from Alice’s new Road album, and people could only speculate on the stage set, the energy in the room lifted. Soon enough, it was all systems go, with a mock broadsheet newspaper headline of a masthead titled The Australia Chronicles screaming “Banned in Australia! Alice Cooper. Trial Set: for Deeds Against Humanity”. And a cloaked bell ringer in a Bubonic plague doctor mask and assorted other costumed ghouls as the curtain fell. At the top of the mirrored side of stage stairs, bassist Chuck Garric stood stage right with guitarist Tommy Henriksen at stage left. 

The newspaper article curtain dropped to then reveal the top hat, and coat and signature makeup adorned, pirate sword brandishing front man Alice Cooper. Suitably stage clothed co-guitarists Ryan Roxie and Ibanez signature guitar queen, Nita Strauss were alongside but as the first portion of the raw rock of “Lock Me Up” from late eighties classic album Raise Your Fist and Yell segued into latest album track, “Welcome to the Show”. All mobile band members were like constant moving targets, darting around the stage, weaving in and out of Cooper’s orbit, and jumping on and off a raised walking platform parallel to the stage front border. Everyone in the room was up on his or her feet, except of course incredibly drummer, Glen Sobel, whose double kick drum kit, sat front of four towering visual panels bordered in gothic styled border panelling, relaying close-up visuals of stage action for the benefit of the audience in the cavernous arena.

A suitably seventies-sounding arrangement of the classic “No More Mr. Nice Guy” had audience singalongs, and hints of falsetto from Cooper. It was followed by the powering tracks “I’m Eighteen”, set list staple “Under My Wheels”, chock full of guitar soloing trade-offs, fluid drumming, and amusingly insightful lyrics from Cooper that still have a great sense of black humour. 

Guitar playing lurched between more expressive, blues-based style of Roxie to the fleet-fingered virtuosity of Strauss, with the meat and potatoes, unison bends style work executed with brash style by Henriksen. All guitarists – and bassist Garric – provided recognisable, and well-timed backing vocals, with the title track classic hit “Billion Dollar Babies” demonstrating the band and Cooper’s tight execution of song performance. 

“Hey Stoopid” was almost as bombastic as the recorded version, with various vocal tracks added, and some cowbell from Sobel. Prior to the guitar solo trade-offs between Strauss and Roxie, Cooper and Strauss had eye contact during the relatable lyrics, indicating some lived experience. As the song progressed to a chorus repeat, and almost a band tacit moment as the crowd sang along, the band kicked in, and Strauss’ outro solo took flight, yet still managed to reference the known riff of Clapton’s “Layla”. It’s probably a running joke in the band to keep them amused but it was fun.

“Department of Youth”continued the hit parade, as big chords and unison bends melded with audience call-and-response work. A couple of tracks from Hey Stoopid ensued with the more melodic “Snakebite” seeing Cooper adorned with a real python, as Strauss riffed and soloed nearby. The comical, double entendre filled rock boogie vibe of “Feed My Frankenstein” let Strauss indulge in whammy work, and Sobel in drum fills galore, with Strauss then letting rip a barrage of squealing harmonics, and fluid soloing, and rock poses, trading off with Roxie as the ten foot Frankenstein’s monster on stilts appeared, arms outstretched behind them, adding pantomime to proceedings.

Pulsing synth parts introduced monster hit “Poison”, including Strauss’ breathy backing vocals, and Cooper toying with the lyrics to include audience members and saying ‘raise your hands if you’re poison.’ A “Black Widow Jam” was preceded by the screen showing the now classic Vincent Price narrated black widow spider segment from the Alice Cooper: Welcome to My Nightmare film. This introduced Strauss’ solo spot, as she appeared atop the staircase at stage left, soloing with sustained notes and legato playing, then walking down to the drum kit area, peeling off segments of chromatic tapping, and whammy screams, into riffing with an Eastern vibe completed with descending trills and whammy affected renditions of known melody lines, backed by some bass tonic notes. 

Theatrics ramped up “Ballad of Dwight Fry”, with Cooper in a strait jacket, taking a certain turn from controlled knife throwing, balloon popping and impaling paparazzi photographers to darker territory. This of course was the part of show with the guillotine segment, which included ever reliable Sheryl Cooper dressed as Marie Antoinette, revelling in Cooper’s well practised decapitation routine. Kids didn’t bat an eyelid at the gag.

After this, the band only, fronted by Garric, played “I Love the Dead”, including a very late eighties Megadeth-sounding rhythm interlude. Miraculously re-appearing, atop a huge podium with flags, Cooper and band completed the main set with the humorous evergreen track, “Elected”, having all the more comical aspects given the unedifying state of world politics. Streamers from the ceiling rigs were then dropped on the audience, along with a stream of plectrums.

The encore quickly arrived in the form of classic album title track “School’s Out”. The marching feel, double stop chorus riff and song structure allowed for plentiful guitar embellishments between vocal parts. During the song, a breakdown part saw Cooper address the audience in laconic fashion and introduced his band members with a nod and a wink, then introducing himself in classic third person irony, saying, “and playing the part of Alice Cooper tonight – me.” 

Then with the song reaching its natural, over the top conclusion, Cooper quipped, “may all of your nightmares be horrific – goodnight.” So, with that, the band left the stage, as new album track, “I’m Alice” played over the PA. 

Alice Cooper live is an experience and remains one of the best international touring acts around. It is fair to say that he singlehandedly saved a rapidly nosediving festival from abject oblivion. He continues to deliver and do so without being overly repetitive or becoming subject to the trappings of a sometimes fickle and largely unpredictable industry. In fact, similar comments could be made of Blondie but when it comes to this rock show, Alice saved the day.

Images: Paul Southwell