Metal, Hardcore, Indie, Rock
KISS Kruise Landlocked in Vegas – “The Return of KISS and ton’s of 80’s nostalgia”
The KISS Kruise Landlocked in Las Vegas marked a significant moment for the band and its fans. It was the first time KISS had performed live since concluding the End of the Road tour in New York in December 2023. Rather than returning to the high seas, the group transported the familiar Kruise atmosphere to the Nevada desert, turning Las Vegas into a multi-day rock-and-roll festival complete with concerts, fan gatherings, and exclusive performances.
Over the course of the weekend, the band hosted Q&A sessions and a variety of themed activities designed to recreate the intimate, communal spirit of the traditional KISS Kruise. Fans were given a rare opportunity to interact closely with the musicians, revisit classic eras of the band’s history, and experience something truly unusual: KISS performing without their iconic makeup and massive stage show.
The musical lineup underscored the event’s ambitions. Alongside KISS’s long-awaited return to the stage, fans were treated to performances by former KISS guitarist Bruce Kulick, Quiet Riot, Pearcy/DeMartini, Black ’N Blue, and several KISS tribute acts. The result was a weekend that blended nostalgia, musicianship, and unmistakable fan energy. Las Vegas hosted a celebration that successfully captured the essence of the original KISS Kruise while offering its own identity — an event likely to be remembered for years to come.
INTRO
The KISS Kruise was held in impressive surroundings at the Virgin Hotel. A considerable effort had clearly been made to give the venue a full KISS treatment, as the band’s presence was visible everywhere. Upon arrival, guests were greeted by a massive event-branded sign, and the hotel lobby continued the same theme with even more visual highlights. Throughout the hotel’s large casino area, various iconic elements familiar from KISS concerts had been placed on display — including Eric Singer’s piano from the End of the Road tour, the well-known panther statues from multiple tours, and the “dragon,” Sam T. Serpent, often seen onstage alongside Gene Simmons.
The hotel was further decorated with numerous posters, and even all the elevators had been customized to match the KISS theme. Naturally, the event also featured a selection of KISS-themed drinks and food items, offering fans plenty of choice.
The event itself was extensive and packed with a lot of things to see. In this report, I have gathered all the main highlights, focusing primarily on the concerts and the interactive activities involving the KISS members. Unfortunately, I wasn’t able to attend everything, and for that reason, for example, the Quarantine show slipped by this time.
FRIDAY
KISS ACOUSTIC SHOW
KISS’s acoustic show has long served as the official opening of the classic KISS Kruises—a chance for the band to greet the fans in attendance personally. While Gene Simmons has remained active with his solo band even after KISS’s final New York shows in December 2023, the other members have been relatively quiet on the live front. It made the crowd’s anticipation feel almost touchable. The performance took place on an outdoor stage that, given the size of the audience, looked surprisingly intimate. Gray skies and gusty winds greeted the band as they stepped onstage to warm applause. Paul Stanley, Gene Simmons, and Tommy Thayer looked almost exactly as fans remember, while Eric Singer sported a visual throwback: his long blond hair harkened back to his early days with the band in 1992.
After the applause settled, an image of the recently deceased Ace Frehley appeared on the back screen. At Stanley’s request, the band and crowd observed a moment of silence to honor the Spaceman’s memory. The moment became even more moving when the electric candles handed out to the audience cast a soft glow over the area.
The set opened with ‘Coming Home,’ followed by Simmons’ 1978 solo album track ‘See You Tonite.’ The band looked and sounded superb, and the vibe continued with The Beatles’ ‘I’ll Be Back,’ performed by Stanley and Simmons in a two-man arrangement reminiscent of the classic 1987 “KISS Exposed” video. For the most part, the show mirrored the setlist of the now 30-year-old “KISS Unplugged” album, with a few exceptions: ‘Hard Luck Woman,’ ‘Love Her All I Can,’ and ‘Hide Your Heart,’ which represented the band’s ’80s era.
Overall, KISS sounded tight, energized, and hungry—very much in the same form as they had been on Caribbean Kruises in recent years. It was a strong and fitting way to kick off this year’s event.
QUIET RIOT
Quiet Riot has undergone a staggering number of changes over its long, 50-plus-year career. Formed in Los Angeles in 1973, the hard rock outfit is best remembered for its 1983 breakthrough “Metal Health”, which sold over 10 million copies and became the first heavy metal album in history to reach No. 1 on the Billboard 200. The band is also forever linked to founding guitarist Randy Rhoads, whose groundbreaking work with Ozzy Osbourne’s “Blizzard of Ozz” lineup in the early ’80s continues to inspire generations—until his tragic death.
By 2025, Quiet Riot is a very different band from either its 1973 origins or its mid-’80s heyday. None of the original members remain, but legendary bassist Rudy Sarzo at least represents the classic “Metal Health” lineup. Vocal duties have long been handled by Jizzy Pearl, known from Love/Hate and L.A. Guns, while guitarist Alex Grossi has been a steady presence in the band for years. On drums is former Type O Negative powerhouse Johnny Kelly.
The set kicked off with a high-energy trio: ‘Run for Cover,’ ‘Slick Black Cadillac,’ and the Slade cover ‘Mama Weer All Crazee Now,’ one of Quiet Riot’s biggest hits. Jizzy Pearl was in top vocal form, and it was a real treat to hear ‘Blackout in the Red Room,’ “Love/Hate”’s biggest hit.
Still, the spotlight naturally followed Rudy Sarzo, who electrified the stage with every move. Even at over 70, he remains a powerhouse performer, and watching his phenomenal bass work is an absolute joy. It’s no surprise that a musician of his calibre has also played with bands such as Whitesnake, Dio, and, of course, Ozzy Osbourne’s “Blizzard of Ozz”.
The rest of the set featured all of Quiet Riot’s biggest hits, with a focus on their most successful mid-’80s material. The result was a high-energy, hit-packed performance that clearly delighted the audience. At the same time, it’s fair to say that Quiet Riot today is very much a nostalgia act. New material seems unlikely, and the live shows serve as much as a tribute to the band’s late members—from Randy Rhoads to vocalist Kevin DuBrow (RIP 2007) and drummer Frankie Banali (RIP 2020)—as they do a celebration of the hits. And that’s perfectly fine: fans can simply enjoy the ride while it lasts.
PEARCY/DEMARTINI
The second major ’80s hard rock act of the evening featured two key figures from the legendary band Ratt: vocalist Stephen Pearcy and guitarist Warren DeMartini. In the ’80s, Ratt was one of the most popular bands in its genre, but the group has since gone through numerous lineup changes. The loss of guitarist Robbin Crosby in 1992 after a long illness was a major turning point, and in the years that followed, Ratt underwent multiple incarnations. Internal conflicts and prolonged legal battles have also marked the band’s history.
Fast-forward to 2025, and Pearcy and DeMartini are performing under their own names, a move likely shaped in part by their turbulent past. Joining them on this tour were guitarist Carlos Cavazo, known from both Ratt and Quiet Riot, bassist Matt Thorr, an early member of the band, and drummer Blas Elias of Slaughter. For this particular show, Elias was tied up with commitments to the Trans-Siberian Orchestra, so Jimmy D’Anda (BulletBoys, Lynch Mob) filled in on drums.
As expected, the Pearcy/DeMartini set leaned heavily on Ratt’s biggest hits. The show opened with ‘Wanted Man,’ followed by classics like ‘I Want a Woman,’ ‘Lay It Down,’ ‘You’re in Love,’ and ‘Back for More.’ It was a full-on hit parade—the perfect approach for an event like this. As a longtime fan of ’80s hard rock, I was glad to hear the band still sounded tight and cohesive. DeMartini and Cavazo formed a highly skilled, tasteful guitar duo. However, it was a bit disappointing that the set didn’t include any tracks from the excellent “Infestation” album, on which Cavazo also played.
D’Anda and Thorr held down a tight, precise rhythm section all night, but the only real concern came from Pearcy himself. While his vocals remained solid, his noticeably gaunt appearance stood out. It may have been just an off night, but it was a stark reminder of the physical demands of touring. Pearcy’s condition leaves questions about the band’s future and the long-rumored possibility of new material. Hopefully, it comes to pass—because this lineup still has plenty to offer musically, and fans are eager for more.
SATURDAY
GENE SIMMONS – PICK-THROWING CONTEST
Gene Simmons’ legendary pick-throwing contest has been a staple of the Kruise program since the very beginning, and this year was no exception—though with a fresh twist. Comedian Craig Gass joined Simmons as co-host, delivering a rapid-fire stream of jokes that had the crowd roaring and kept Gene on his toes throughout. The bass god himself couldn’t escape the ribbing, with plenty of playful jabs about his diminishing pick-throwing prowess.
While the contestants technically competed for glory, they were almost secondary to the comedy and antics of the duo—this was, undeniably, a Simmons/Gass show. The final twist? Victory went to an estimated three-year-old girl, who received a little handicap in the competition, proving once again that at this Kruise, fun and spectacle always trump pure competition.
SEBASTIAN BACH
Sebastian Bach was undoubtedly one of the marquee names for this year’s Kruise. The former Skid Row frontman has long worn his KISS fandom on his sleeve, making it abundantly clear how much he and his bandmates have idolized the rock legends since the ’70s. Known not only for his soaring vocals but also his fiery personality and outspoken remarks—particularly regarding his former bandmates—Bach brought that same signature energy to the 2025 KISS Kruise stage.
While much of his career has leaned heavily on classic Skid Row material, Bach has also built a solid solo catalogue. Last year’s “A Child Within the Man” stands out as one of his strongest efforts to date, and it was refreshing to hear the set open with its lead single, ‘What Do I Got to Lose.’
The momentum hit overdrive with the second song, the Skid Row classic ‘Slave to the Grind,’ which struck the crowd like a freight train and immediately demanded full attention. The setlist largely followed a Skid Row-centric path, but Bach thoughtfully incorporated three tracks from the new album. Heartfelt tributes to both Ace Frehley (‘Shock Me‘) and Ozzy Osbourne (‘I Don’t Know?‘) were seamlessly woven into the performance, adding depth and context.
Onstage, Bach occasionally showed minor signs of fatigue, but it never truly detracted from his commanding presence—he delivered consistent power and charisma from start to finish. The backing band, however, left a somewhat uneven impression. Several songs were played at unnecessarily brisk tempos, occasionally blunting the material’s impact, and the absence of a second guitarist was noticeable.
All things considered, Bach gave the fans exactly what they came for. As the final notes of “Youth Gone Wild” rang out, the crowd left energized and satisfied, marking yet another high-octane highlight of this year’s Kruise.
KISS ELECTRIC SHOW
Electric KISS show was, quite naturally, the most anticipated event of the entire weekend. The Theatre was packed well in advance, and the atmosphere was nearly tangible with excitement and electricity. The previous day’s successful acoustic performance had only raised expectations even further – the mood could hardly have been any better. Unlike the traditional KISS curtain, the stage was now covered by a red, velvet-like drape that suited the theatrical setting perfectly.
When showtime arrived, the band was introduced by Criss Angel, the illusionist known for his extreme magic acts. After a short introductory speech, he fulfilled one of his personal dreams by announcing the band onto the stage with the legendary call: “You wanted the best, you got the best! The hottest band in the world – KISS!” Eric Singer was already seated behind his drums, while the rest of the band walked onstage during Angel’s introduction. The magician himself seemed genuinely thrilled by the honour.
Led by Paul Stanley, the band soaked in the crowd’s applause for a moment before launching into the most classic opener of them all, ‘Deuce.’ The group appeared surprisingly energetic, and it was clear that all members were enjoying themselves onstage. When the familiar choreographed moves came toward the end of the song, the entire audience buzzed. Next came the rarely played ‘Take Me,’ which raised energy levels onstage and in the crowd even higher.
Special credit must be given to the stage production. Even without pyros, bombs, or smoke, the show looked impressive, thanks to the massive KISS mask figures towering behind the band, the striking light show, and numerous small visual details.
Paul Stanley led the show with confidence and continued singing just as strongly as he had during the acoustic set – the two-year break from performing has clearly done him good. Gene Simmons, now appearing without makeup, was entirely in his element as well. Though the tongue stayed mostly put and none of his trademark stunts, like fire-breathing or blood-spitting, were featured, the old demon still delivered a powerful performance. One can only imagine the relief both Stanley and Simmons must feel now that they no longer need to wear heavy costumes or spend hours in makeup, as they did for decades.
The setlist moved smoothly through familiar tracks and a few lesser-played ’70s songs. ‘Watchin’ You’ and ‘Got to Choose’ were indeed great choices for the set. Before ‘Hotter Than Hell,’ Stanley amused the audience by admitting that he took the song’s main riff directly from Free’s hit ‘All Right Now.’ “If you’re going to steal, make sure you steal from a really good song,” he joked. “Cold Gin” was dedicated – quite rightly – to Ace Frehley, and it received loud applause from the crowd. “Love Her All I Can” represented the rarer side of the set and stood out as one of the evening’s highlights. The rest of the set leaned heavily on the classic hits that appear at virtually every KISS show: “Black Diamond,” “Detroit Rock City,’ and ‘Shout It Out Loud‘ are undeniable crowd-pleasers that fans want to hear again and again.
The first encore was ‘Lick It Up,’ given an extra spark by the appearance of Bruce Kulick, who slipped onto the stage quietly. Performances featuring Bruce with KISS have been rare treats since the KISS Unplugged era and the original lineup’s reunion. If memory serves, a similar appearance happened only once on the KISS Kruise before – in 2018, when Ace Frehley was also onstage. The audience warmly received Bruce and clearly enjoyed the moment. True to form, he stayed on his side of the stage, almost as if careful not to get in anyone’s way. His presence, however brief, was an excellent addition to the show.
The night ended with the immortal ‘Rock and Roll All Nite,’ which had the entire arena singing and dancing loudly. While the makeup and many of the band’s trademark theatrics were left behind this time, some traditions remain: Paul Stanley smashed his guitar with decades of confidence, to the crowd’s delight. It was a fitting finale to a visually impressive show. Personally, I didn’t miss the makeup or the massive spectacle – I’d rather see a relaxed, happy band enjoying themselves without the weight of the past on their shoulders.
Although the concert was overall great, I still found myself missing the “deep cuts” that were often highlights of earlier Kruises. None of those appeared this time, even though this would have been a golden opportunity for the band to play almost anything. Time will tell what happens next with the band. There was plenty of talk at the event about the KISS Kruise returning next year – possibly back on a Caribbean ship. If that happens, I’ll certainly be there again.
SUNDAY
ERIC SINGER AND TOMMY THAYER – ‘NAME THAT TUNE‘
This program segment has appeared on past Kruises, but previously, it was hosted solely by Tommy Thayer. This time, however, Eric Singer also took the stage alongside him. The concept is simple: either Tommy would play a short snippet of a KISS guitar riff or lead, or Eric would perform a recognizable drum fill from a classic KISS track—like the iconic intro to ‘I Love It Loud.’
Three contestants took part, some guessing correctly, others relying on intuition to identify the song snippet. When no one had the correct answer, the audience could answer. On several occasions, Thayer and Singer got carried away, playing an entire verse and chorus to give everyone a better clue of the song. Despite gusty winds and a grey sky, the outdoor contest ran smoothly and provided plenty of fun for the crowd. Overall, it was a lively, entertaining moment—classic Kruise-style fan engagement at its best.
KISS Q & A SESSION
The traditional KISS Q&A session once again drew a large crowd on the KISS Kruise. As in previous years, the entire band sat onstage in their own chairs and answered pre-selected audience questions – a format that ensures an entertaining and relaxed atmosphere without any awkward surprises.
The questions covered familiar ground: when KISS might return to Australia, what it’s like to play in the same band after decades together, and how the members view each other as musicians. Gene Simmons delivered his usual flair, turning the moment into a bit of a comedy act by “bribing” the others onstage with dollar bills – a humorous, very Gene-like touch that amused the audience.
The most talked-about moment, however, came from Paul Stanley. When asked about the possibility of new music, Stanley revealed that he has been writing new songs, adding that he only creates music for the right reasons. Fans immediately began speculating, and rumours of a potential new KISS album began spreading quickly.
To be precise, Stanley never mentioned a KISS record — he only said he had been working on new music. Still, comments like these are often enough to spark hopes and rumours among fans. And it is hard to believe that the remark was entirely accidental. The band also confirmed that preparations for the next KISS Kruise are already underway, suggesting that the group will continue to appear onstage in some form. What else the future may hold, however, remains to be seen.
All in all, the Q&A was once again an entertaining segment — one that should be taken exactly for what it is: a lighthearted fan-oriented event rather than a serious press conference.
BRUCE KULICK
Bruce Kulick and his solo band have become a staple of the KISS Kruise experience. His setlists, almost mystical in their appeal, draw almost exclusively from his years in KISS—a treasure trove of songs you won’t hear live anywhere else these days, including a few the band itself never performed onstage.
For those unfamiliar, Bruce Kulick joined KISS during the Animalize tour in 1984 and remained a key member until 1996. His tenure ended when he and Eric Singer stepped aside to make way for Ace Frehley and Peter Criss as the band reunited with its original lineup. Still, the Kulick era holds a special place in many fans’ hearts, with albums like “Asylum”, “Crazy Nights”, and “Revenge” standing as enduring cornerstones of the KISS catalog.
This year’s set hit hard from the start with a thunderous ‘Creatures of the Night.’ The band was on fire: Todd Kerns delivered powerful, wide-ranging vocals, while Brent Fitz kept a tight, precise rhythm. Kulick then launched into two of his signature “Asylum” tracks, ‘Uh! All Night’ and ‘Who Wants To Be Lonely,’ both greeted with loud cheers. Kulick was clearly in his element, especially during his blazing solos.
The night brought a minor twist to the lineup. Regular bassist and vocalist Zach Thorne was sidelined by scheduling conflicts, with newcomer Joe McGinness stepping in. McGinness took the lead on ‘Unholy,’ delivering a solid performance, though longtime fans might have missed Thorne’s signature gritty edge.
For fans of deep cuts, the show was a treasure trove. The long-shelved ‘Sword and Stone’—originally leftover from the “Crazy Nights” sessions and later recorded by Bonfire—made a welcome return, alongside the “Animalize” gem ‘Thrills in the Night,’ which I was hearing live for the first time. Other highlights included a punchy ‘King of Hearts’ and an outstanding Revenge medley that stitched together ‘Carr Jam,’ ‘Paralyzed,’ ‘Tough Love,’ and ‘Spit.’ One of the evening’s crowning moments came when Eric Singer slipped behind the drums for ‘Domino,’ clearly delighted to dive back into material from this era.
Having caught Kulick’s band roughly half a dozen times, it’s clear that their performances remain consistently strong—often spectacular. Yet the once-unpredictable setlist has lost some of its element of surprise, with many staples sticking around show after show. Maybe the next logical step is a bold one: performing a full album from start to finish. Whether it’s “Revenge”, “Asylum”, or another Kulick-era favorite, it’s a concept that would surely thrill many fans—myself included.”
BLACK ‘N BLUE
Today, Black ’n Blue is perhaps best remembered by KISS fans as the band that launched the career of KISS’s current and longest-serving guitarist, Tommy Thayer. The Portland-based group, fronted by Jaime St. James, earned moderate MTV exposure in the mid-’80s and even opened for KISS on the Asylum tour—a partnership that eventually saw Gene Simmons produce the band’s following two albums.
Despite Simmons’s support, Black ’n Blue never quite reached stardom. Thayer departed in 1989, and the band soon broke up. In the early ’90s, St. James and Thayer reunited in the KISS tribute band Cold Gin. Thayer later navigated several roles within the KISS organization before officially joining as the band’s guitarist in 2002—a position he still holds. Meanwhile, St. James released a solo album and spent many years as Warrant’s frontman. Black ’n Blue returned to the stage in 2009 without Thayer, though he occasionally appeared as a guest, and in 2011, the band issued its most recent studio album, “Hell Yeah!”.
In recent years, the band has performed only sporadically, concentrating mainly on live releases. “The Lost Tapes” (2022) dug up archival material penned by Thayer and St. James, and this year’s “Bombshell” EP continued the trend with fresh collaborations from the duo. It was therefore no surprise when Thayer was announced as the ‘special guest’ for Black ’n Blue’s tonight’s show.
The show opened with ‘School of Hard Knocks‘ from the band’s debut album, a minor MTV hit that instantly set the tone. One of the highlights of the early part of the show was Nasty Nasty,ä which Gene Simmons later reworked into the song ‘Domino‘ for KISS’s “Revenge” album. If you’re not familiar with it, it’s worth listening to both songs back-to-back.
Fans’ anticipation reached its peak during the set’s tenth song, ‘Chains Around Heaven,’ when Thayer stepped onstage to a rapturous welcome. The energy surged immediately. As more material from the debut album followed, the crowd’s excitement intensified. Thayer’s fourth and final number, ‘I’m the King,’ brought both his guest appearance and, effectively, the entire show to a close.
St. James showed he still has strong vocals and stage presence, but it was Thayer’s arrival that really brought the show to life. Their shared history was clear in both their sound and chemistry, and Thayer’s experience with KISS was matched by the evident joy he felt revisiting his old role.
The concert ran about 75 minutes, and the high-energy finale, highlighted by Thayer’s standout performance, gave KISS fans—and all lovers of great rock—exactly what they wanted: an exhilarating trip back to the golden era of ’80s hard rock and metal.
THE SUMMARY
KISS Kruise: Landlocked in Las Vegas was, all in all, a truly fantastic experience. The event offered a wide range of concerts — some of them entirely unique — along with plenty of additional attractions. The facilities at the Virgin Hotel were excellent, and unlike a traditional sea-bound cruise, this indoor “Kruise” spared fans from having to worry about the weather outside.
Looking ahead, there is plenty of anticipation about what might come next. Both the band and their manager, Doc McGhee, repeatedly hinted that a new event of the same kind is expected next year, whether it will take place in Las Vegas, the Caribbean, or somewhere entirely different remains to be seen. If I had any influence over the matter, I would love to see a similar event organized in Europe one day. However, that may remain only a distant hope. For now, we’ll keep an eye on how things develop — and revisit the topic when more information becomes available.
LINKS
