There’s a certain electricity that fills an arena when KISS is about to take the stage. You feel it before you see a single spark or hear the rumble of the pyro. The crowd—made up of face-painted veterans, parents passing the flame to their kids, and curious first-timers—buzzes like a living amplifier. Even in May 2022, after five decades of rock theatrics, KISS still managed to make their End of the Road tour feel like an event. This wasn’t just another gig; it was an act of rock ’n’ roll immortality.
The Ervin J. Nutter Center in Dayton, Ohio, was packed to capacity. The smell of leather, beer, and gunpowder (from previous pyro blasts) lingered before the lights even dimmed. Then, as always, the lights dropped, the announcer’s booming voice declared, “You wanted the best, you got the best! The hottest band in the world—KISS!” and chaos erupted.
The curtain dropped, fireworks burst, and the unmistakable opening riff of “Detroit Rock City” hit like a lightning bolt. Flames shot skyward as Paul Stanley, Gene Simmons, Tommy Thayer, and Eric Singer descended from platforms amidst a barrage of lasers. The visual assault was almost overwhelming, but that’s exactly what you pay for—a sensory overload of guitars, fire, and nostalgia.
The Setlist
Detroit Rock City
Shout It Out Loud
Deuce
War Machine
Heaven’s on Fire
I Love It Loud (Gene breathes fire)
Say Yeah
Cold Gin
Guitar Solo (Tommy Thayer)
Lick It Up (with “Won’t Get Fooled Again” interlude)
Calling Dr. Love
Tears Are Falling
Psycho Circus (Partial)
Drum Solo
100,000 Years (Outro only)
Bass Solo
God of Thunder
Love Gun (Paul on B-stage)
I Was Made for Lovin’ You (Paul on B-stage)
Black Diamond
Encore:
Beth
Do You Love Me
Rock and Roll All Nite
The Opening Salvo
“Detroit Rock City” was pure adrenaline. Paul Stanley’s voice, though showing its age in moments, still carried that swaggering confidence that made KISS icons in the first place. His charisma filled every inch of the Nutter Center. Gene Simmons, ever the dark overlord, stomped across the stage breathing fire and wagging that demonic tongue as the crowd screamed every lyric back.
“Shout It Out Loud” and “Deuce” kept the early energy soaring. The band’s precision was undeniable—decades of touring have polished their live show to a level that borders on the supernatural. Thayer’s guitar tone was razor-sharp, his soloing clean but fiery. Eric Singer, hidden behind a fortress of chrome and drums, pounded through “Deuce” with power and finesse, giving it a fresh, urgent pulse.
When they dove into “War Machine,” the visuals truly went nuclear. Flames erupted from the stage corners while Simmons took center stage, his bass growling like a beast. The video screens showed him in full demon mode, spitting blood before launching into the first of several spectacular fire-breathing moments. The crowd, predictably, went berserk.
Heat, Fire, and Heaven
“Heaven’s on Fire” was the band’s first real dive into their mid-’80s catalogue. Stanley strutted across the catwalk, spinning his guitar, pointing into the crowd, and still managing to pull off those iconic falsetto lines. His energy was infectious. You could see entire families—grandparents, parents, and their kids—singing together, united by makeup and melody.
“I Love It Loud” followed, and it lived up to its name. Gene Simmons took command here, his bass thundering through the floorboards. As he breathed a column of fire high above his head, the crowd erupted into primal roars. It was pure spectacle, the kind of moment KISS invented and no other band has ever truly replicated.
Stanley then took a breather to connect with the crowd. “Dayton, Ohio! How ya feeling tonight?” he yelled, his voice carrying over the roar of 10,000 fans. “We’ve been doing this for a long time, and it still feels good!” The crowd cheered wildly as the band launched into “Say Yeah,” one of their more recent cuts, proving that even newer material can sit comfortably beside their classic anthems.
Guitar Gods and Stage Smoke
“Cold Gin” came next, a deep cut from their early days that longtime fans immediately recognized. Tommy Thayer nailed Ace Frehley’s original licks with respect and precision but injected enough of his own flair to make it feel fresh. His guitar solo right after the song was blistering—a whirlwind of tapping, shredding, and showmanship, ending with a burst of sparks shooting from his instrument like a Fourth of July celebration.
Then came one of the night’s highlights: “Lick It Up.” The band extended the middle section with a surprise interlude of The Who’s “Won’t Get Fooled Again,” complete with laser lights flashing in sync with the famous synth break. Stanley and Thayer traded off vocals and solos, and it was a thrilling blend of classic rock homage and KISS-style bravado.
The Emotional Core
“Calling Dr. Love” and “Tears Are Falling” brought back the pop-metal groove of the late ’70s and ’80s. Stanley’s voice may not hit the same high notes as it once did, but his delivery was heartfelt, and the crowd filled in every gap. “Tears Are Falling” was particularly strong, shimmering under blue and purple lights while Thayer’s guitar rang out with melodic precision.
“Psycho Circus,” even in its abbreviated form, still hit hard. The video walls displayed kaleidoscopic visuals that perfectly matched the song’s theme. Then Eric Singer took over with a powerful drum solo that reminded everyone why he’s one of rock’s most dependable drummers—technical yet full of feel.
The outro of “100,000 Years” bled perfectly into Gene Simmons’ bass solo. As he stood alone in the dark, his instrument emitted a menacing growl, and then came the moment fans wait for: the blood. Simmons tilted his head back, spewing a stream of crimson down his chest as the lights turned an eerie green. Seconds later, he was lifted by cables high above the stage to perform “God of Thunder” from a metal platform. Theatrical, over-the-top, and absolutely magnificent.
The Flight of the Starchild
As the smoke cleared, Paul Stanley appeared at the edge of the stage, announcing he was “coming to see the people in the back.” He hooked himself to a zipline, and as the opening riff of “Love Gun” blasted through the speakers, Stanley soared over the audience, landing on a smaller B-stage near the back of the arena. It was pure rock ’n’ roll showmanship, the kind of thing only KISS would dare to pull off.
He stayed on that smaller stage for “I Was Made for Lovin’ You,” and it was easily one of the night’s biggest singalongs. Every single person in the arena seemed to know the words, from the front row to the nosebleeds. The song may have been written as a disco-rock crossover, but in this moment, it was a unifying anthem.
Back on the main stage, they launched into “Black Diamond.” Stanley handed vocal duties to Singer, who delivered the song with gritty power while Stanley and Thayer harmonized behind him. It was a stunning closer—until the encore, of course.
The Encore: A Farewell and a Firestorm
After a brief pause, the lights dimmed again, and Eric Singer returned to the stage alone. Sitting behind a piano, he performed “Beth,” one of KISS’s most surprising and tender hits. The contrast between the bombast of the main set and this quiet, emotional moment was striking. The crowd lit up the arena with phone flashlights, swaying gently as Singer crooned through the song with sincerity.
Next came “Do You Love Me,” a perfect blend of self-awareness and swagger. Stanley strutted once more, asking the eternal question of whether it’s the fame or the face paint that keeps fans loyal. The crowd roared back, proving it’s neither—it’s the sheer joy that KISS brings with every performance.
Finally, of course, came “Rock and Roll All Nite.” Confetti cannons exploded, fireworks shot from every angle, and the band poured every last ounce of energy into the song that defined their legacy. Stanley smashed his guitar at the finale, the lights blazed to white, and the crowd screamed themselves hoarse. It was everything a KISS encore should be: loud, proud, and unapologetically excessive.
The Afterglow
As fans poured out of the Nutter Center, faces smeared with makeup and smiles, one truth lingered—KISS might be on their “final” tour, but they’re not fading quietly. The band’s chemistry, even after lineup changes and decades of wear, remains tight. Stanley and Simmons still command the stage like the rock gods they’ve always been. Thayer and Singer, often unsung heroes, have fully earned their place in KISS history.
This show wasn’t about proving anything new—it was about celebrating everything KISS ever was. The fire, the blood, the riffs, the spectacle—it all came together in a two-hour testament to why KISS still matters in 2022. They turned an Ohio arena into their private cathedral of rock, and everyone inside left baptized in glitter and smoke.
Final Thoughts
KISS’s farewell may stretch across years, but nights like this make it easy to understand why fans keep coming back. The Nutter Center show wasn’t just another stop—it was a ritual, a celebration, and a promise that rock and roll will never truly die as long as there are bands like KISS to keep it alive under lights and fire.
Grade: B – A high-octane, emotional, and perfectly over-the-top performance that proves KISS’s legacy still burns hotter than ever.