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Home ยป โšพ๐Ÿค˜ PAUL STANLEY & GENE SIMMONS THROW FIRST PITCH AS KISS CELEBRATE 50 YEARS SINCE HISTORIC ANAHEIM GIG ๐Ÿ”ฅ

โšพ๐Ÿค˜ PAUL STANLEY & GENE SIMMONS THROW FIRST PITCH AS KISS CELEBRATE 50 YEARS SINCE HISTORIC ANAHEIM GIG ๐Ÿ”ฅ

Michael by Michael
17 August 2026
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Fifty years after KISS descended upon Anaheim and turned a baseball stadium into a cathedral of face paint, platform boots and glorious rock โ€™nโ€™ roll excess, Paul Stanley and Gene Simmons have returned to mark the occasion โ€” this time armed with baseballs rather than smoking guitars. โšพ๐ŸŽธ๐Ÿ”ฅ

The two KISS legends stepped onto the field at Angel Stadium in Anaheim, California, on 15 August 2026, throwing ceremonial first pitches as part of celebrations marking the 50th anniversary of KISSโ€™s legendary 1976 Anaheim Stadium concert.

And because this is Gene Simmons weโ€™re talking about, one pitch apparently wasnโ€™t enough.

The Demon reportedly ended up throwing four ceremonial pitches.

Of course he did. ๐Ÿ˜ˆโšพโšพโšพโšพ

This is KISS, mun. Even baseball needs more pyro.

๐Ÿ”ฅ 50 YEARS OF KISSTORY

The celebration takes us all the way back to 20 August 1976, when KISS played Anaheim Stadium during one of the most explosive periods of their career.

Picture the scene.

No smartphones.

No TikTok.

No bloke three rows in front filming the entire bloody concert vertically.

Just tens of thousands of rock fans, four painted maniacs onstage and enough theatrical madness to make 1970s parents seriously question what their children were listening to.

KISS were becoming absolutely enormous.

The classic line-up of:

๐ŸŽค Paul Stanley โ€“ vocals and rhythm guitar
๐Ÿ˜ˆ Gene Simmons โ€“ vocals and bass
๐Ÿš€ Ace Frehley โ€“ lead guitar
๐Ÿฑ Peter Criss โ€“ drums

had transformed KISS from an ambitious New York rock band into one of the most recognisable musical forces on the planet.

And Anaheim became part of that story.

More than 42,000 fans reportedly packed into Anaheim Stadium for the historic concert.

Thatโ€™s not just a gig.

Thatโ€™s an invasion.

๐ŸŽธ KISS IN 1976 WERE ABSOLUTELY UNSTOPPABLE

To understand why the Anaheim show matters so much, youโ€™ve got to remember exactly where KISS were in 1976.

Destroyer had arrived earlier that year.

The album gave the world songs including:

๐Ÿ”ฅ Detroit Rock City
๐Ÿ”ฅ God of Thunder
๐Ÿ”ฅ Shout It Out Loud
๐Ÿ”ฅ Do You Love Me?
๐Ÿ”ฅ Beth

KISS werenโ€™t simply releasing records anymore.

They were building an empire.

The make-up. The costumes. The merchandise. The explosions. Gene breathing fire and spitting blood. Paul commanding arenas like heโ€™d personally been appointed Minister for Rock โ€˜nโ€™ Roll.

Then youโ€™ve got Ace Frehley firing off guitar solos while Peter Criss battered the drums behind them.

Subtle?

Absolutely bloody not.

And thank goodness for that. ๐Ÿค˜

โšพ THE DEMON TAKES THE MOUND

Fast-forward half a century and Paul Stanley and Gene Simmons were back in Anaheim.

Only this time, instead of strolling onto a concert stage, they were heading onto a baseball field.

The surviving founding KISS members appeared at Angel Stadium, home of the Los Angeles Angels, to help commemorate that legendary night from 1976.

Stanley and Simmons took part in the ceremonial first-pitch festivities before the Angelsโ€™ game.

For most celebrities, that means walking out, waving at the crowd, throwing one baseball and praying it doesnโ€™t bounce six feet in front of home plate.

Gene Simmons?

Nah.

Apparently Gene decided to throw four.

Thereโ€™s something wonderfully KISS about that.

Why do something once when you can make it four times bigger?

Somewhere, a pyro technician was probably desperately asking whether he could attach flames to the baseball.

โค๏ธ A BEAUTIFUL NOD TO KISS HISTORY

Beneath all the fun, though, thereโ€™s something genuinely special about seeing Stanley and Simmons together celebrating this milestone.

KISS officially brought their touring career to an end with the final End of the Road performance at Madison Square Garden in New York in December 2023.

After decades of touring, thousands of shows and enough confetti to bury several small countries, the touring machine finally stopped.

But KISS history hasnโ€™t stopped with it.

Far from it.

Moments like this show just how enormous the bandโ€™s cultural footprint remains.

Fifty years after that Anaheim concert, people are still talking about it.

Theyโ€™re still wearing the shirts.

Theyโ€™re still buying the records.

Theyโ€™re still painting their faces.

And somewhere, right now, somebody is probably trying to play the opening riff to Detroit Rock City far louder than their neighbours would prefer.

As they should.

๐Ÿ’ฟ KISS DESTROYS ANAHEIM โ€™76

The anniversary is being celebrated in another very tasty way too.

KISS Destroys Anaheim โ€™76 is scheduled for release on 21 August 2026, bringing the historic performance roaring back to life half a century later.

The release features a new mix by legendary producer and engineer Eddie Kramer, created from the original multitrack recordings of the Anaheim concert.

For the KISS Army, thatโ€™s a pretty significant piece of rock history.

Weโ€™re talking about KISS captured during one of the defining periods of their career โ€” young, hungry, theatrical and rapidly becoming one of the biggest bands in the world.

And now those recordings are getting another chance to blow the doors off your speakers.

Neighbours beware.

๐Ÿ˜ˆ KISS DIDNโ€™T JUST PLAY CONCERTS

Thatโ€™s perhaps the biggest reason weโ€™re still talking about performances like Anaheim 1976.

KISS understood something very early on.

A rock concert didnโ€™t have to be four musicians standing underneath some lights playing songs.

It could be a spectacle.

Fire.

Smoke.

Blood.

Explosions.

Platform boots.

Flying band members.

Flaming guitars.

Massive illuminated logos.

And enough volume to rearrange your internal organs.

They helped establish the idea that a rock show could be an event.

You werenโ€™t merely going to hear KISS.

You were going to see KISS.

And preferably come home smelling vaguely of smoke.

๐ŸŽค PAUL & GENE โ€” FIVE DECADES LATER

There is also something slightly surreal about seeing Paul Stanley and Gene Simmons standing together fifty years after that Anaheim performance.

Think about everything thatโ€™s happened between those two moments.

Line-up changes.

Solo albums.

Reunions.

Farewell tours.

Another farewell tour.

Merchandise.

Movies.

Comics.

Action figures.

Pinball machines.

Lunchboxes.

Coffins.

Yes, KISS really did put their name on coffins.

Because apparently even death isnโ€™t enough to stop the merchandising department. ๐Ÿ˜‚

Through all of it, Stanley and Simmons remained at the heart of the KISS machine.

And here they are in 2026, still representing the band and celebrating the history they helped create.

โšพ FROM ANAHEIM STADIUM TO ANGEL STADIUM

Thereโ€™s a lovely symmetry to the whole thing.

1976: KISS arrive in Anaheim and play to more than 42,000 screaming rock fans.

2026: Paul Stanley and Gene Simmons return to the stadium to celebrate the showโ€™s 50th anniversary.

Different era.

Different circumstances.

Same enormous legacy.

And presumably slightly more comfortable footwear.

Those platform boots canโ€™t be doing your knees any favours after fifty years, butt.

๐Ÿค˜ THE KISS ARMY NEVER REALLY CLOCKS OFF

Perhaps thatโ€™s the biggest takeaway from this anniversary.

KISS may no longer be touring in the traditional sense, but KISS isnโ€™t disappearing.

The music remains.

The imagery remains.

The stories remain.

And the KISS Army certainly isnโ€™t packing away the face paint anytime soon.

For generations of fans, KISS represented that first moment when rock music became something larger than life.

You saw the album artwork.

You saw Gene Simmons covered in blood.

You saw Ace Frehleyโ€™s smoking guitar.

You saw those platform boots.

And suddenly every other band looked suspiciously underdressed.

๐Ÿ˜‚๐Ÿค˜

Fifty years after Anaheim, that influence can still be seen throughout rock and metal.

From enormous festival productions to pyro-filled arena tours, plenty of what we now expect from major rock shows owes something to bands such as KISS pushing live production into increasingly ridiculous territory.

And we mean ridiculous as the highest possible compliment.

๐Ÿ”ฅ 50 YEARS LATER โ€” YOU WANTED THE BESTโ€ฆ

Half a century after KISS stormed Anaheim Stadium, Paul Stanley and Gene Simmons have returned to celebrate one of the landmark concerts of the bandโ€™s incredible career.

No blood-spitting.

No fire-breathing.

No exploding guitars.

Just a couple of ceremonial baseball pitches.

Wellโ€ฆ

Four if youโ€™re Gene Simmons. ๐Ÿ˜ˆโšพ

Because even at a baseball game, The Demon apparently doesnโ€™t understand the phrase keep it simple.

And would we really want him to?

Not a chance.

From more than 42,000 fans in Anaheim in 1976 to a 50th-anniversary celebration in 2026, the story continues.

The touring may have stopped.

The platforms may spend a little more time in the wardrobe.

But the legacy?

Still loud. Still ridiculous. Still unmistakably KISS.

๐Ÿค˜๐Ÿ”ฅโšพ๐ŸŽธ

YOU WANTED THE BEST. YOU GOT THE BEST.

And fifty years laterโ€ฆ

the KISS Army is still reporting for duty.

๐Ÿค˜ THE RIFF REPORT

Proudly Welsh. Proudly Loud. Zero Apologies.

Were you lucky enough to see KISS during their incredible career? Whatโ€™s your favourite KISS era, album or live memory?

Get involved and tell us โ€” and somebody please check whether Gene has stopped throwing baseballs yet. ๐Ÿ˜ˆโšพ๐Ÿ”ฅ

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๐Ÿฅโค๏ธ โ€œA REALLY LOVELY MESSAGEโ€: ANIKA NILLES REVEALS NEIL PEARTโ€™S WIDOW REASSURED HER BEFORE HER FIRST RUSH CONCERT

Michael

Michael

๐ŸŽธ About Michael Michael is the founder, editor and chief riff wrangler of The Riff Report, an independent Welsh rock, metal and alternative music publication built by fans, for fans. A lifelong rock and metal fan, Michael has spent years immersed in the music, culture and community that surround the heavier side of life. From discovering new bands and digging through classic albums to standing in muddy festival fields, squeezing into packed venues and spending far too much time near the front of a stage, music has always been much more than background noise โ€” it is a massive part of who he is. That passion eventually became The Riff Report, a publication created to celebrate the bands, artists, venues, festivals, photographers, promoters and fans who keep the rock and metal world turning. Michael spends much of the year covering gigs, festivals, tours, album releases, new singles, interviews and music news, with a camera never too far away and a press pass usually hanging somewhere around his neck. Whether it is a huge arena show, a major outdoor festival or a tiny grassroots venue packed with people discovering their new favourite band, he believes every part of the scene has stories worth telling. For Michael, one of the biggest joys of music journalism is being able to shine a light on artists at every level. The Riff Report is just as interested in the hungry independent band playing to 50 people as it is in the global act headlining to 50,000. Supporting unsigned, independent and grassroots musicians is a huge part of the publicationโ€™s identity, because every legendary band started somewhere. Sometimes the next big thing is not on a massive billboard or a major-label playlist โ€” sometimes they are crammed onto a tiny stage in a pub, plugging in their own gear and hoping somebody in the room remembers their name. Michael wants The Riff Report to be one of the places that remembers.

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