From: Patrick Emery
Well, we wanted the best and we got the best. Last night's KISS concert was all that we, the fans, were promised. The fans, in turn, came prepared. The Dressed Kill Album theme was quite popular, with men in suits and make-up dotted throughout the thronging crowd.

First prize for costume design went to the lady who made up a full Ace Frehley c1979 outfit, complete with sparkling cape, closely followed by the guy with the full Ace kit from the 1974-75 era. KISS couples were numerous, and there was more than one KISS nuclear family, with each member with make-up. A family that rocks together, stays together. Cries of 'we want Criss' were heard before the band came on stage (with a waggish 'wake up Ace' from some guys behind us), before the booming introduction we were all waiting for.

The guys started proceedings with the extended guitar pounding of Detroit Rock City and 20 metre high fireball explosions. Paul Stanley, in his patented Noo Yoik camp style, dominated the crowd, conducting it through countless woahs, yeahs and all rights, with all the grace and aplomb of Herbert Van Karajan. For a man who's been rock'n'rolling all nite and partying every day for almost 30 years, Paul is doing remarkably well and was certainly not afraid to wiggle his arse to prove it.. Ace Frehley is the giggling survivor of rock'n'roll excess, but for someone who seems not all there he did very well to get through another show - though I was perpetually worried that he would not make it, particularly after he ducked off stage after a few songs. Gene - for whom Freud's theories on sexuality must be particularly relevant - was his usual gratuitous self, with demonic high heeled boots and leering glances toward anything in a skirt.

The show was riddled with trademark KISS theatrics - Gene breathing fire at the conclusion of Firehouse and flying to the top of the concert hall for the B grade horror rock schlock of God of Thunder (complete with blood spitting routine). Ace reminded us of the halcyon days of 1970s guitar heros with a blood long guitar solo during Shock Me, before his smoking guitar was lifted to the heavens, and with the assistance of some snazzy computer generated images on the screen behind the band, into outer space. Eric Singer won the fans over with some classy double kick drumming, and even managed some vocal duties during Black Diamond. During Do You Love Me a video of classic KISS moments was shown, with due tribute being paid to Peter Criss (and I'm still fairly confident that his absence on this tour was more about his erratic performance than contractual disputes). The video finished with 'We Love You' emblazened across the screen. The feeling was reciprocated with another crowd roar.

Highlights ... well where do you start? Ace's fireworking guitar (he managed to shoot down a light with one firework causing some further giggling on his part), Paul's venture into the crowd to play Love Gun, and his acoustic, almost touching (there's got to be a double entrendre in there somehwere), rendition of Hard Luck Woman and Shandi, Eric's ridiculously long drum solo in 100 000 years. The shere excitement of hearing old favourites like She, Cold Gin, Let Me Go Rock'n'Roll and Parasite Lady cannot be overstated. Every album - with the exception of the frequently overlooked 1982 concept album 'Music From the Elder', was represented on the night. And a set littered with strobing lights, fireworks, dancing flames and other industrial explosions ensured continual visual stimulation.

As a tribute to Australia, which more than most other countries embraced the disco era KISS, we got I Was Made for Loving You as an encore. The second encore consisted of a medley of some older songs, as well as New York Groove off the Ace solo album. The show concluded with a stirring rendition of Rock'n'Roll All Nite, as the crowd did what it was told and kept on shouting until the last note was played.

At the end of the night I could barely hear the post-concert commentary, but we knew we'd had a good time. The guys will be back there tonight, working hard again. Paul told us that 'Melboorne' rocked, and I'm sure he was being sincere. Despite the wilderness period during the 1980s, KISS has been the strobing beacon of theatrical stadium rock for 25 years and I'm very sure there will be more than a few fans with tears in their eyes after this tour is over.

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