Review & Photography by Manny Manson for MPM
Alice Cooper at the Utilita Arena, Birmingham just the thought of it makes me smile, as I make my way along the dreaded M6 to Brum.
I get to the venue, and it’s bustling with activity. The mix of ages, from the veterans who’ve followed Cooper since the 70s to the younger generation soaking up his shock rock legacy, it was obvious that they had been here for a while for what was sure to be an unforgettable night. And with a seemingly eclectic lineup, one that promised everything from youthful punk grit to legacy Brit rock swagger and topped off with Cooper’s twisted theatrics, it was clear we were all in for a treat.
Kicking things off were “THE MEFFS”, an Essex-based punk duo that burst onto the stage like they had something to prove. Lily, on vocals and guitar, and Lewis, on drums, filled the arena with a raw, unrelenting energy that grabbed hold of the audience.
Their opener, “Stamp It Out,” was a snarling punk anthem that made everyone sit up and take notice. Lily’s raspy vocals and chaotic stage presence were electric, she stomped across the stage, stuck her tongue out, pulled faces at the mic, and one point, even asked the crowd to boo them, a request met with amused cheers.
The Meffs rattled through their set with breakneck speed, their stripped-back, drums-and-guitar setup proving more than enough to fuel their ferocious sound.
Songs like “BBBB”, “Stand Up”, and “Breath “was unapologetically fast and gritty, while Lewis pounded the drums with the kind of intensity that made it hard to believe there were only two of them up there.
By the time they closed with “What,” they’d left a real impression, with the crowd now fully warmed up and ready for what was next.
Enter “PRIMAL SCREAM”. These guys have been around for over four decades, evolving from their early indie roots into a band that has dabbled in everything from acid house to hard rock, and they’ve picked up a legion of fans along the way. As Bobby Gillespie and the gang walked onto the stage, the crowd cheered, ready for a dose of Screamadelica nostalgia and rock ‘n’ roll swagger.
They kicked off with “Love Insurrection, “though not without a small hiccup, a false start in the wrong key, but Gillespie laughed it off, and they restarted without missing a beat. From then on, it was a seamless ride through their hits, with “Jailbird “and “Ready to Go Home “bringing that signature Scream energy.
The band was drenched in sublime lighting, which matched the psychedelic undertones of tracks like “Deep Dark Waters “and “I’m Losing More. “Gillespie strutted around the stage, all coolness and charm, while guitarist Andrew Innes played like a man possessed.
But it was the crowd favourites that brought the house down. As soon as “Loaded “and “Moving on Up “kicked in, the whole arena was on their feet, singing along, dancing, and losing themselves in the moment. Primal Scream still has that magic; decades on, they can turn any gig into a euphoric experience.
Their set closed with “Country Girl “and “Rocks, “and by the time the last chords rang out, the audience was well and truly warmed up. It was a masterclass in how to keep a crowd on the edge of their seat while hitting every emotional note.
After a quick changeover, the lights dimmed again, and the atmosphere shifted. The anticipation was next level; this was it, the moment we’d all been waiting for. Alice Cooper, the godfather of shock rock, was about to hit the stage.
The intro music started, and two figures wearing plague doctor masks walked slowly across the stage, swinging incense as the eerie scent filled the air. The curtain dropped, revealing another giant curtain hung in front of us, a newspaper-style front page from the “English Gazette.” emblazoned with the words “COOPER IS BANNED”
Then, with a dramatic flair, Cooper’s silhouette backlit against the giant newspaper. Appeared. He tore through the backdrop, arms outstretched, and the crowd lifted the roof off as one huge cheer rang out. The band had launched into “Lock Me Up “from “Raise Your Fist and Yell” (1987), it showed the crowd just what they were in for, this wasn’t going to be just a concert; it was going to be a full-blown rock ‘n’ roll spectacle.
The crowd were on their feet from the get-go, clapping, singing along, and feeding off the electric energy radiating from the stage. Cooper followed up with “Welcome to the Show “, a newer track from “Detroit Stories” (2021), and then dove straight into the classics. “No More Mr. Nice Guy “and “I’m Eighteen” were met with thunderous applause, with the audience belting out the lyrics like they’d been waiting all night for this moment. Cooper, now wielding a crutch during “Under My Wheels, “prowled the stage like the rock villain we all know and love.
Each song came with its bit of theatre, from the monster-masked roadies to Cooper’s ever-changing arsenal of props. The real theatrics began. The hits kept coming; “Bed of Nails” from 1989’s ‘Trash’, followed by the title track of “Billion Dollar Babies, “which saw Alice wielding his iconic sword and flinging fake dollar bills into the crowd.
Then came “Snakebite, “where, in true Alice Cooper fashion, he draped a live python around his neck and strutted across the stage as if it were the most natural thing in the world. You could practically hear the gasps from those in the crowd who didn’t expect it as they watched this surreal, rock-infused horror show unfold, it was classic Cooper on fire.
The crowd roared their approval as the snake slithered around him, and Cooper continued to belt out the lyrics like a man possessed. “Be My Lover”, another cut from ‘Love It to Death, helping to keep the energy high, when “Lost in America “hit, Cooper cheekily swapped out “America” for “Birmingham” during the chorus, sending the crowd into a frenzy of cheers.
During “The Man Behind the Mask, “a crew member dressed as a photographer roamed the stage snapping pictures, only to be dragged off by a roadie holding a knife to his throat, further amping up the horror theatrics. This was further amped up when another photographer ran on stage during “Hey Stoopid” Alice took care of him by running through with the mic stand as the stage cleared to allow Glen Sobel to entertain with a thundering drum solo.
Alice was slumped on the tapping out the beat with his cane. Smoke poured down the steps as the band flung themselves into “Welcome to my Night Mare”, complete with rain displayed on the backdrop screen, the band ripped solo after solo as Cooper paraded and thrust his way through this brief interlude.
And then came another one of the evening’s highlights, “Cold Ethyl “. Cooper threw a stuffed doll from the stairs onto the stage and proceeded to manhandle it while singing about necrophilia in true Cooper fashion. It was dark and twisted, and yet you couldn’t look away. That’s the beauty of an Alice Cooper show; he walks the fine line between horror and rock with a master’s touch.
Then came “Go to Hell “, where Cooper rattled a set of four orange maracas, building up the tension before engaging in a mock whip fight with a Marie Antoinette character, cracking the whip to finish the song.
The classic “Poison” was a huge highlight, with the crowd singing every word from his 1989 hit, superbly lit, the band delivered this one like it was fresh out of the lab. “Feed My Frankenstein “brought one of the night’s biggest spectacles, a towering Frankenstein monster who roamed the stage while guitarist Nita Strauss shredded her way through the solo, complete with horsey-style screaming effects from her guitar. The band were absolutely on fire, with each member delivering the kind of musical perfection you’d expect from a rock legend’s touring crew.
Cooper introduced “Black Widow “with the help of the haunting voice of Vincent Price booming from the screen behind him, a perfect nod to their long-standing collaboration. Once again, Strauss delivered another blistering solo before the band transitioned seamlessly into “Dwight Fry. “In which Cooper appeared in a straitjacket, stumbling around the stage as if truly lost in his deranged character. A ghoul cattle-prodded him as he knelt on the riser before he fought with the Marie Antoinette character, which eventually led him to the guillotine.
The crowd roared as Cooper’s head was dramatically “chopped off,” with Antoinette parading it around the stage as, ferociously, the band played on.
But of course, Alice wasn’t done yet. As the band launched into “I Love the Dead, “Cooper’s voice echoed through the speakers, his character seemingly speaking from beyond the grave. And then, as if by magic, he reappeared for “Elected, “dressed in a white top hat and tails, playing the role of the ultimate showman-politician. Two American flags hung from the steps as he orated to the gathered crowd, adding to the grandiosity of the performance. This was yet another classic from “Billion Dollar Babies” and a perfect lead-in to the encore.
The encore was inevitable; Cooper shouted, “1 More”? And then the unmistakable alarm bells of “School’s Out “began, at which the entire arena erupted. Giant balloons bounced around the crowd, and foam blasted from the stage whilst Alice and the band ripped this classic a new one, he was popping balloons with his sword like a mischievous ringleader. The band seamlessly weaved in a bit of Pink Floyd’s “Another Brick in the Wall, “another school-derived anthem, before returning to finish “School’s Out “with the kind of fanfare that only Alice Cooper can deliver.
Before the night ended, Cooper introduced his stellar band—Ryan Roxie on lead guitar, Glen Sobel on drums, Chuck Garric on bass, Tommy Henricksen on lead guitar, a fellow Hollywood Vampire, and finally, introduced as the Queen of guitar, Hurricane Nita Strauss also on screaming lead guitar, along with a special mention of his wife Sheryl Cooper, who had played multiple roles throughout the night. With one last cheeky grin, Alice took off his top hat and, in a classic Cooper moment, he retorted, “And Alice Cooper, played by…” The rapturous applause and cheers started, and he milked it before shouting “ME!”.
From start to finish, this was Alice Cooper at his finest—showmanship, theatrics, and timeless rock ‘n’ roll. Even after all these years, he’s still the king of shock rock, and nights like this prove why his reign will never end. It might have seemed like a pared-back version of his show, but Alice Cooper’s performance was simply a masterclass in theatrical rock.
From the opening notes of “Lock Me Up” to the final echoes of “School’s Out”, this was vintage Cooper. Even after all these years, he still commands the stage like few others can. The band was tight, the theatrics were on point, and the crowd? They left with their ears ringing and their hearts full. F@ck me, it was classic Cooper, every bit as good as when I saw him on the “Special Forces” tour back in 1982. Long live the king of shock rock.
