Club + Bars

Kiss brings hard-rock flair to the Hard Rock

You can take Kiss out of the arenas, but you can’t take the arena show out of Kiss.

The veteran, face-painted hard-rock band scaled down its stage show a bit to fit its thunderous act into the 5,000-seat Hard Rock Live at the Seminole Hard Rock Hotel & Casino near Hollywood Thursday night. Still, the volume of its music and the plentiful pyrotechnics packed enough wattage to delight an all-ages crowd. In fact, because the band drew so many pre-teens and their parents who dressed in face paint and, in many cases, full Kiss regalia, an observer might have thought it was 1979 again. Given the already surreal, manufactured reality of the colorful Seminole grounds, the event almost felt like the set of the Kiss Meets the Phantom of the Park movie with hundreds of big and little Kiss extras.“We don’t usually get to play places this small,” lead singer Paul Stanley screamed after Kiss opened its two-hour concert with a newer headbanger, Modern Day Delilah, from its return-to-form 2009 album, Sonic Boom.“Makes us feel we’re back in the old days,” he continued, “so we’re going to play old, classic stuff.” Stanley, 59, then led founding partner Gene Simmons and replacement members Tommy Thayer and Eric Singer into a set heavy on songs from the first eponymous Kiss album in early 1974, songs such as Cold Gin, Black Diamond and Firehouse, a simple but effective rocker that still ends with piercing fire alarms and spinning red lights. Other oldies included Let Me Go, Rock and Roll, 100,000 Years, Detroit Rock City and the standard ’70s bathroom break — the guitar and drum solos following Thayer’s lead on Shock Me. However, Kiss always keeps these instrumental passages interesting, given that the lead guitarist’s instrument belches fireworks, and the drummer cues explosions in the rafters. The solos mercifully ended before they wore out their welcome.One sign that this wasn’t your parents’ Kiss was Stanley’s voice, no longer quite the pliable, effortlessly operatic instrument of the 1970s and ’80s. Decades of screaming songs in high keys have worn it to the nub on newer material such as the anthemic Say Yeah, ’80s numbers like Crazy, Crazy Nights (a surprise, welcome addition to the set list) and the 1977 Kiss classic, Love Gun. On that audience favorite, Stanley’s patchy vocals were nicely, wisely augmented with some helpful vocal fills from drummer Singer. Curiously, though, as the show went on toward its exciting hit-heavy encore set, Stanley’s voice seemed to gain strength and smooth out a little. He sounded pretty good on the disco-era smash, I Was Made for Loving You, which actually requires vocal range, and he nailed it quite well. As the group’s indefatigable cheerleader, Stanley also brought it home good and hard on the terrific Lick It Up, Shout It Out Loud and the closing Rock and Roll All Nite.Simmons, 61, whose songs aren’t pitched so high, sounded remarkably well preserved on his growling signature tunes, Calling Dr. Love, Deuce and I Love It Loud. Time, and the Kabuki demon makeup, have been kind to Simmons. He hasn’t lost a step. His fire breathing and blood spewing shtick still make you feel 14 again. The only difference with this venue’s show is that Simmons couldn’t do his usual God of Thunder fly-up-into-the-rafters act, and the concert’s staging was flat and simple until the finale when he and Thayer rose on lifts as a confetti machine sent a blizzard over fans and Independence Day-worthy fireworks exploded all around the band.Kiss could make better use of its other two characters, however. This is still the Paul and Gene Show, perhaps fair since they kept Kiss alive over the years as guitarists and drummers came and went, but the band has gems in Thayer and Singer. The latter, now in Peter Criss’ original cat makeup and a more muscular rock drummer than his ’70s predecessor, nicely sang the group’s one ballad, the lovely Beth, in acoustic form and handled his leads on the driving Black Diamond with vigor. Thayer only had the Shock Me set piece, but he reproduced Ace Frehley’s leads on guitar throughout the night and should have been given more time in the lead vocal spotlight, perhaps on more of Frehley’s tunes or, better yet, his fine contribution to Sonic Boom, When Lightning Strikes.Above all, given the theatrical limitations of a non-arena show, Kiss’ music had to carry the load, and this performance revealed that its influential catalog has aged well, its energy and hooks can still excite young and old and the snobbish bean counters at the Rock and Roll Hall of Fame really are clueless and remiss for ignoring Kiss’ considerable contribution.