W.A.S.P. and KK’s Priest Revisit the Classics at The Agora Theatre in Cleveland

W.A.S.P. / KK’s Priest – Cleveland, Ohio

**W.A.S.P. – Agora Theatre, Cleveland, Ohio**

KK’s Priest mixed Judas Priest favorites with original material of their own at Cleveland’s Agora Theatre, with Tim “Ripper” Owens showing off his impressive vocal range and K.K. Downing proving he still has plenty left on guitar. W.A.S.P. took a different route at Cleveland’s Agora Theatre, digging into its first four albums before closing with some of its biggest songs. From deep cuts and personal stories to classic metal staples, both bands gave fans plenty to take in.

KK’s Priest opened a sold out night at Cleveland’s Agora Theatre with a set that leaned heavily on the Judas Priest catalog, while W.A.S.P. followed with a deeper look at the first four albums that established the band in the 1980s. From Tim “Ripper” Owens’ remarkable vocal range to Blackie Lawless’ stories about the songs behind W.A.S.P.’s early years, both sets offered plenty for longtime metal fans.

For KK’s Priest, the connection to Judas Priest was front and center from the start. Guitarist K.K. Downing and vocalist Tim “Ripper” Owens led a lineup featuring guitarist A.J. Mills, bassist Anthony Wall and drummer Sean Elg. The band opened with “You’ve Got Another Thing Comin’,” “Living After Midnight” and “Breaking the Law,” going straight to three recognizable songs from the Judas Priest catalog.

Ripper was a natural fit for the material. His personality between songs was warm and welcoming, but when it came time to sing, the range and power of his voice were something else entirely. Songs such as “Victim of Changes” and “Beyond the Realms of Death” gave him room to show just how high he could take those vocals. Some of the notes seemed almost impossible to reach, yet he hit them with impressive control.

Downing was just as enjoyable to watch. Now in his seventies, he was all over the stage, moving with an energy that made his age hard to believe. His guitar work with Mills was a highlight, particularly when they joined forces for harmonized leads and traded solos. The playing was precise at every speed, and the two guitarists worked together seamlessly.

***KK’s Priest – Agora Theatre, Cleveland, Ohio***

The set continued with “The Sentinel,” “Heading Out to the Highway” and “Turbo Lover,” alongside KK’s Priest originals “Hellfire Thunderbolt” and “Raise Your Fists.” Elg kept the drums pounding while Wall held down the bass, giving the guitarists plenty of room to work. The entire lineup sounded locked in, with the musicianship remaining consistent throughout the set.

With Ripper having a hometown connection to the Cleveland area, the show had an added personal element. He made the audience feel welcome between songs before switching right back into the demanding vocals. Downing and Mills were equally impressive whenever they shared the stage, and their guitar interplay was one of the strongest parts of the performance. I would see these guys again in a heartbeat.

W.A.S.P. took a different approach, pulling material from its first four albums for the 1984 to Headless show. The set covered the self titled W.A.S.P. (1984), The Last Command (1985), Inside the Electric Circus (1986) and The Headless Children (1989). Circus style banners hung around the stage, while four screens displayed the oversized video productions associated with the band’s classic era.

Blackie Lawless, joined by bassist Mike Duda, guitarist Doug Blair and drummer Aquiles Priester, opened with a cover of Uriah Heep’s “Easy Livin’,” moving straight into “Fistful of Diamonds” and “The Flame.” The first nine songs focused on deeper cuts rather than immediately leaning on the biggest hits. For fans familiar with the band’s early catalog, it was a chance to hear material that does not always get the same attention as its best known songs.

One of the most interesting moments came before “Mr. Cool.” Lawless explained that he wrote the song when he was just 18 years old, but a former friend later sold it, setting off legal battles that lasted for years. It was quite a story to hear before the song itself. The background gave the performance a different perspective, and the song was a welcome addition to a set that reached beyond the obvious choices.

“On Your Knees,” “The Real Me” and “The Headless Children” were among the other highlights in the first part of the show, which closed with “Mephisto Waltz.” The selection covered several stages of the band’s early career, with the emphasis on the records that shaped W.A.S.P. before its biggest songs became concert staples.

Lawless’ stage presence was another part of what made the performance distinctly W.A.S.P. His infamous microphone stand, known as “Elvis,” was never just something to sing into. He used it as part of the show, hiding behind it, hanging off it and climbing it, making the unusual piece of stage equipment an extension of his theatrical performance.

The second set opened with “I Wanna Be Somebody,” and the performance took off from there. The band sounded more settled into the show, and the songs that followed made for the strongest stretch of the night. “L.O.V.E. Machine,” “Inside the Electric Circus,” “I Don’t Need No Doctor” and “Golgotha” led into “Wild Child” and “Blind in Texas,” closing the evening with two of W.A.S.P.’s biggest songs.

The video screens continued to complement the performance, with footage that recalled the look and feel of the band’s classic era. Along with the circus style banners and Lawless’ use of “Elvis,” the visuals helped tie the production to the music without taking the focus away from the band.

Lawless remained the center of attention, maintaining the theatrical approach that has long been part of W.A.S.P.’s identity. The contrast between the deeper opening selections and the run of familiar songs in the second set gave the performance a clear progression. Starting with material that reached further into the catalog made the eventual arrival of “I Wanna Be Somebody,” “Wild Child” and “Blind in Texas” feel well placed rather than predictable.

With KK’s Priest revisiting Judas Priest favorites while playing original material of its own, and W.A.S.P. working through the albums that launched its career, the Cleveland show offered two different perspectives on classic metal. KK’s Priest stood out for Owens’ vocals and the guitar work shared by Downing and Mills. W.A.S.P. gave longtime fans a chance to hear deeper cuts alongside the songs that have remained central to the band’s live shows.

For many, one of the night’s highlights was seeing Downing still playing with that level of precision, while W.A.S.P.’s set offered a reminder of how much material sits beyond the band’s biggest hits. It was a strong pairing, with both bands giving fans plenty of classic metal to take home.