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KISS show's swell, but turnout shrinks From: pennlive.com By Kira L. Schlechter No one goes to a KISS show to hear about society's ills or mull over some great poetic turn of lyrical phrase. No one really goes to think at all. If you're rubbing any brain cells together, you're working too hard. A KISS show is one gigantic, flame-throwing, fire-breathing, blood-dripping good time -- nothing else. They swore during the 2000 tour that it would be their last, but like the road dogs they are, they were back at Hersheypark Stadium yet again Sunday on a tour dubbed "Rock the Nation." But plenty of "the nation" decided to skip this go-round; a scan of the floor and the stands revealed large patches of empty seats. Those members of the KISS army who did make it caught a set that balanced some gotta-do-'em classics with a good sampling of less frequently played tracks. Band leaders GENE SIMMONS and PAUL STANLEY have replaced guitarist ACE FREHLEY with TOMMY THAYER and drummer PETER CRISS with ERIC SINGER, frequent fill-ins for both. It didn't make a difference appearancewise, as the replacements wore make-up identical to the originals, or performancewise, as both played well and were superior harmony singers. And besides, the unit, the image that is KISS, has always been the sum of its parts, so a change in personnel, particularly one this deliberate, makes barely a ripple. Stanley was in fine voice and full-on strut-and-pout mode as KISS blasted out of the gates with a solid "Love Gun." Simmons took over on vocals for "Deuce," giving it his best phlegmy growl while mugging for the cameras and stalking the stage like a demented spider. The rarely played "Makin' Love" showed Stanley to be a little wifty on the high notes. That was the case on "I Want You" and "100,000 Years," too, but he was more reliable on more midrange material like "Psycho Circus." Simmons' sharp "Christine Sixteen" was followed by Stanley's enthusiastic "Got to Choose." The bassist then nailed a sinister "War Machine," punctuating its groove with pummeling bass lines, and a driving "I Love It Loud." If the KISS stage setup could have been more extreme, we're not sure how. Why have one bank of amps when you can have two? Why have one video screen when you can have a good dozen, all flashing various images? Why have one band member fly (as Simmons did on "Unholy") when you can have two (as Stanley did on "I Was Made for Loving You")? Why have pyro when you can have fireworks, too? Why have one flashing "KISS" sign when you can have a pair? In between the aerial shenanigans, KISS galvanized the crowd with a well-played "Shout It Out Loud," and after all were back on terra firma, wrapped things up with a pyro-filled "Detroit Rock City." Back out for the encore, Stanley dedicated the admittedly hokey "God Gave Rock 'n' Roll To You" to the fans, the slew of youngsters in the audience, and the good ol' U.S. of A. Bursts of confetti and more pyro studded the closer, "Rock And Roll All Nite." The KISS experience is about just that -- the experience. That they delivered in spades as usual, iffy high notes and substitute players aside. How much longer they can survive on that is uncertain, though, considering all those empty seats. Midstate homeboys Poison wisely did not attempt to out-glam the kings of glam, delivering a short, hit-laden opener that might have been the best they've done here. Dressed down in jeans and T-shirts, singer Bret Michaels and company cranked out raw, blistering takes on "Look What the Cat Dragged In," "Fallen Angel," "Ride the Wind" and a terrific "Your Mama Don't Dance," fleshed out by Michaels on a wicked harmonica. Michaels dedicated "Something to Believe In" to members of his family who've served in the military, then finished up with "Unskinny Bop" and "Nothin' But a Good Time." After a brief pause, Poison returned for a nicely done "Every Rose Has Its Thorn" and a raucous "Talk Dirty To Me." While it might hurt some bands of their status, being a support act seems to have helped Poison be more concise, energetic and free from self-indulgence. New Yorkers Z02 got things started with their '70s-influenced hard rock. |
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