Rob Zombie + Alice Cooper + Ministry + Filter @ Pine Knob Music Theatre in Clarkston, Michigan on August 30, 2024

All Photos © Steve Galli + Story by Chloe Catajan

Alice Cooper

Seasons come and go, and after brat summer comes freak fall… at least for Rob Zombie, Detroit’s own Alice Cooper, and fans. The shock-rock icons are back on the road for Freaks On Parade 2024, with support from Ministry and Filter. They brought all the horror and glory to Clarkston, Michigan on August 30.

The “Godfather of Shock Rock”, Alice Cooper kicked off the double bill at Pine Knob Music Theatre with “Lock Me Up” as the ultimate walk-up song. It started with two figures dressed as plague doctors that rang bells across the stage. A black curtain revealed a giant newspaper with the headline reading, “BANNED IN MICHIGAN! ALICE COOPER,” while a spotlight casted the singer’s silhouette.

Alice Cooper

“Alice Cooper, you’ve been banned in Michigan for acts against humanity,” a warped voice announced. “How do you plead?”

“GUILTY,” Cooper snarled as he and the band appeared. They proceeded to rip through the Raise Your Fist and Yell song.

Alice Cooper

As expected of shock rock caliber, Cooper’s set production was incredibly elaborate. The stage design resembled a pirate ship, with two platforms serving as an upper deck. Wooden railings surrounded the drum riser, along with window-shaped video screens. Band members wore tattered and textured outfits, as Cooper played captain in a red coat, tall black hat, and a skull-and-crossbones belt, all while wielding a sword.

On the second song, “No More Mr. Nice Guy,” the singer traded his hat and sword for a cane. He took on the role as the greatest showman as he and his crew knocked out a roughly hour-and-a-half-long set.

Nita Strauss and Alice Cooper

While it was easy to get lost in the theatrics, Cooper and his band of five kept the crowd tuned in from start to finish. The lineup consisted of bassist Chuck Garric, guitarists Ryan Roxie, Nita Strauss, and Tommy Henriksen, and drummer Glen Sobel. Together, they shredded and stunned. The drums were big and anthemic, while the rhythms were nonstop fiery.

Glen Sobel

Cooper, himself, was a magnet. He’d strut his stuff, spin his cane, belt notes, and rile up the crowd. Both his vocal chops and stage presence were in fine form. He and the band went on to perform songs across his catalog spanning 50 years, including songs off 1991’s Hey Stoopid, 1973’s Billion Dollar Babies, 1971’s Love it to Death, and many more.

Ryan Roxie

The set ended with “School’s Out,” featuring a special appearance from Detroit native Suzi Quatro.

Alice Cooper

Rob Zombie rounded out the evening with a co-headlining set that was equally a spectacular assault on the senses. A huge projection of his name flashed on a curtain that covered the stage, counting down the seconds leading to the unveiling. The sheet dropped to reveal not one, but twelve video displays flashing visuals of monsters, skeletons, pentagrams, and spirals.

Zombie appeared center stage, on a tall industrial-inspired riser that had his name carved across it. Drummer Ginger Fish was stationed at the top of the highest riser, while bassist Rob “Blasko” Nicholson and guitarist Mike Riggs stood on the lower tiers. The group opened with the explosive sounds of, “Demon Speeding.”

Rob Zombie

On the second song, “Super-Charger Heaven,” Zombie emerged from the heights. He sang at a mic stand shaped like Baphomet as anime-inspired visuals took over the screens. Sparks showered from atop the stage during the chorus, with fans reacting by throwing fists and devil horns in the air.

On top of the immersive displays, Zombie and company delivered a sound that was an adrenaline rush in itself. Rhythms from Fish, Blasko, and Riggs seared with high-voltage riffage. And, of course, Zombie’s vocals were rough around the edges in the best way—a glorious grit, if you will.

Rob Zombie

Zombie and his crew went on to play material old and new, from 1998’s Hellbilly Deluxe to 2021’s The Lunar Injection Kool Aid Eclipse Conspiracy, and most albums in between. The setlist also included three White Zombie songs: “More Human Than Human,” “Super-Charger Heaven,” and “Thunder Kiss ’65.”

They closed with “Dragula” for the encore, unleashing all the works onstage amid deep, saturated red light. There were flames, fireballs, sparks, crazy visuals, and smoke from Zombie’s handheld fog machine. Zombie led the audience through a call-and–response during the chorus, as well as at the end. The crowd chanted “Zombie,” while the band punctuated the closing riffs.

After all the heaviness, Zombie left on a wholesome note, asking the crowd to take a group photo “to remember this evening.”

Rob Zombie

Chicago band Ministry and Cleveland’s Filter opened the show with two sets of pure rock bliss.

Ministry’s riffs and rhythms packed a sharp punch as frontman Al Jourgensen delivered vocals heavy on distortion. When Jourgensen wasn’t serenading the audience from either ends of the stage, he sang from a mic stand that was shaped like a crucifix. Rested on the cross was a skeleton surrounded by a stained-glass motif.

Al Jourgensen of Ministry

Every song had its own special flavor, whether it was the sick breakdown on “Just One Fix” or the twangy tones of “Jesus Built My Hotrod.” Band members John Bechdel, Monte Pittman, Cesar Soto, Pepe Clarke, and Paul D’Amour layered their parts expertly over each other, creating a chaotic sonic texture. Overall, most songs from the setlist came off newest release Hopiumforthemasses and 1992’s Psalm 69.

Al Jourgensen of Ministry

Filter kicked things off with a snappy and solid set that zeroed in on fan favorites and classic cuts. Vocalist Richard Patrick, guitarist Jonathan Radtke, bassist Bobby Miller, and drummer Elias Mallin appeared onstage dressed in all black—their aura as effortlessly cool as their post-grunge sound.
The band sounded flawless, their tones sludgy, fuzzy, and appropriately grungy. Patrick’s vocals were powerful and on point. In between verses, the lead singer hyped up the early crowd by constantly engaging and checking in with fans. They revisited songs off debut album Short Bus, 2002’s The Amalgamut, most recent album The Algorithm, and of course, the seminal Title of Record.