Two Iconic Titans of Rock & Metal Join Forces for a Can’t-Miss North American Trek
Tickets Available Starting Wednesday, April 16 with Artist Presales
General On Sale Begins Friday, April 18 at 10AM Local on LiveNation.com
This fall, shock rock legend Alice Cooper and heavy metal trailblazers Judas Priest will share the stage for an epic co-headlining tour across North America. Produced by Live Nation, the 22-city run kicks off September 16 at Mississippi Coast Coliseum in Biloxi, MS, and stops in Toronto, Phoenix, Los Angeles, and more before wrapping October 26 at The Cynthia Woods Mitchell Pavilion in The Woodlands, TX.
Coming off the second leg of their Invincible Shield Tour and the release of their celebrated 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his "Too Close For Comfort" tour this summer, promoting his most recent "Road" album, and will have an as-yet-unnamed all-new show for this tour. Corrosion of Conformity will join as support on select dates.
Tickets will be available starting Wednesday, April 16 at 10AM local time with Artist Presales. Additional presales will run throughout the week ahead of the general onsale beginning Friday, April 18 at 10AM local time at LiveNation.comTOUR DATES:
Tue Sep 16 – Biloxi, MS – Mississippi Coast Coliseum
Thu Sep 18 – Alpharetta, GA – Ameris Bank Amphitheatre*
Sat Sep 20 – Charlotte, NC – PNC Music Pavilion
Sun Sep 21 – Franklin, TN – FirstBank Amphitheater
Wed Sep 24 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Fri Sep 26 – Holmdel, NJ – PNC Bank Arts Center
Sat Sep 27 – Saratoga Springs, NY – Broadview Stage at SPAC
Mon Sep 29 – Toronto, ON – Budweiser Stage
Wed Oct 01 – Burgettstown, PA – The Pavilion at Star Lake
Thu Oct 02 – Clarkston, MI – Pine Knob Music Theatre
Sat Oct 04 – Cincinnati, OH – Riverbend Music Center
Sun Oct 05 – Tinley Park, IL – Credit Union 1 Amphitheatre
Fri Oct 10 – Colorado Springs, CO – Broadmoor World Arena
Sun Oct 12 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
Tue Oct 14 – Mountain View, CA – Shoreline Amphitheatre
Wed Oct 15 – Wheatland, CA – Toyota Amphitheatre
Sat Oct 18 – Chula Vista, CA – North Island Credit Union Amphitheatre
Sun Oct 19 – Los Angeles, CA – Kia Forum
Wed Oct 22 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Thu Oct 23 – Albuquerque, NM – Isleta Amphitheater
Sat Oct 25 – Austin, TX – Germania Insurance Amphitheater
Sun Oct 26 – Houston, TX – The Cynthia Woods Mitchell Pavilion
*Without support from Corrosion of Conformity
Both shredders first established themselves as top-level hired guns—Nita Strauss (left) with Alice Cooper and Jennifer Batten with Michael Jackson—before setting off on their long careers.
These super-guitarists talk about originality, busting the patriarchy, supporting Jeff Beck, touring with Alice Cooper, Demi Lovato, and Michael Jackson, guitar education, their secret weapons, and … oh, how to be badass!
It’s a fact: Women and minority artists have often been marginalized, unacknowledged, and even ripped off—both musically and financially. And while the industry has slowly gotten better about amplifying their significant contributions, white male artists have historically been heralded as the heroes and innovators. Even with all of the progress made in recent years, one niche where bias still seems the norm is “hired gun.” The commonly used term “sideman” demonstrates the pervasiveness of male-dominated norms entrenched in our collective psyche. But there are exceptional sidewomen who have broken the glass ceiling with their primetime gigs. And among the most notable are Jennifer Batten and Nita Strauss.
Batten established herself as the lead guitarist for Michael Jackson’s first solo world tour, in support of the album Bad. From 1987 to 1989, she was an integral part of Jackson’s live shows, with her distinctive guitar style and charismatic stage presence. And her 6-string prowess during performances of hits like “Beat It” and “Dirty Diana” (the former featuring Eddie Van Halen’s iconic solo on the record) displayed chops that easily rivaled her male contemporaries. Her work with Jeff Beck on his Who Else! album and subsequent tours further solidified her reputation as one of rock’s most exceptional guitarists. Though decades removed from the bright lights and big stages of those two major gigs, Batten’s career continues to thrive, and she remains an influential figure through the guitar clinics and workshops she conducts worldwide, as well as the solo albums she’s released and continues to tour behind.
Strauss famously cut her teeth with the Iron Maidens, an all-female Iron Maiden tribute band, where she performed under the stage name “Mega Murray.” In 2014, she became the touring guitarist for legendary shock-rocker Alice Cooper, replacing Orianthi, and her modern approach to shred remains the perfect foil to the more traditional classic-rock styles of her Cooper bandmates, Ryan Roxie and Tommy Henriksen. In 2018, she released her debut solo album, Controlled Chaos, which showcased her diverse range of playing styles and songwriting chops, and solidified her reputation as a formidable guitarist in the modern metal scene. In 2022, she was tapped as Demi Lovato’s touring guitarist in support of Lovato’s Holy Fvck, and just this summer Strauss released her second solo album, The Call of the Void, featuring David Draiman (Disturbed), Lzzy Hale (Halestorm), and Alissa White-Gluz (Arch Enemy), among others, as guest vocalists. During NFL football season, she has a standing gig at Los Angeles Rams home games—and a Super Bowl ring to prove it—and has also received several She Rocks awards, including “Best Guitarist” in 2018.
NITA STRAUSS - Victorious ft. Dorothy (Official Music Video)
Premier Guitar hosted a conversation with Batten and Strauss, and got some insight into their similar histories, their work to overcome the status quo, and why it might be best for aspiring guitarslingers to just “chill the fuck out.”
You share strikingly similar career trajectories. Can you give PG readers the CliffsNotes versions of your respective backgrounds?
Jennifer Batten: I started playing when I was 8 years old and, fast forward, I saw an ad in Guitar Player magazine for GIT [now the Musicians Institute]. They had a weekend symposium, and I went up and participated—three really intense days—and understood about 1 percent of what the hell they were saying. I didn’t even know a major 7th chord. In fact, one of the things they asked me to play was Gmaj7. And you know me, I know a G with a 7, first-position cowboy chord [laughs]. So, I got my ass whooped with that. By the time I got the Michael Jackson gig in ’87, I was in five or six different bands, just trying to make it in Hollywood. I got out there and played with as many bands as I could, and said “yes” to every situation until I got an audition with Michael Jackson, and then it was like zoom. I almost got seasick making that big of a jump so fast. Once you play with the biggest pop star in the world, it’s kind of like….
Where do you go from there?
Batten: Well, to Jeff Beck.
Nita Strauss: The biggest guitar star in the world. I’ve said ad nauseam that Jennifer is the one that blazed the trail for the rest of us to follow—you went through with the sword, cutting down the barricades. I took the tour at GIT three times. I could actually never afford to get in, but I grew up in L.A. playing clubs, playing in multiple different bands. I went straight from a metalcore tour in Europe, straight into Jermaine Jackson’s band, straight into an Iron Maiden tribute band, all while doing my original thing, doing covers, doing solo shows, playing acoustic guitar with singers that needed accompanists—really anybody that would have me until I got picked up by Alice Cooper in 2014. And that was my introduction to the big leagues.
Batten: When I went to GIT, class of ’79, I was the only female. And that really shocked me because I didn’t expect that. I didn’t realize it was such an odd career choice for a woman. Fifty-nine guys and me. Crazy.
Jennifer Batten's Gear
Batten has been involved in music education in the form of teaching, workshops, and instructional materials. One piece of wisdom she shares: “If you’re going to be somebody that gets hired for different shows, it’s so important to be humble and be aware of what they need, because they don’t necessarily hire you to make you shine.”
Photo by Ana Massard
Guitars
- Suhr Modern Antique
- Washburn Parallaxe PXM10
Amps & Effects
- BluGuitar AMP1
- BluGuitar NANOCAB & FATCAB
- Line 6 HX Stomp XL Multi-effects Floor Processor
- MeloAudio MIDI Commander
Amps & Strings, Picks, & Accessories
- D’Addario NYXL (.008–.042)
- Gravity 1.5 mm
- Lock-It Guitar Straps
- D’Addario XPND Pedalboard
- ASI Audio 3DME in-ear monitors
- Audix i5 Microphone with CabGrabber Mic Clamp
Were there female guitarists you could look to for inspiration or was it just the typical male guitar heroes of that era?
Batten: Yeah, it was all guys. I don’t recall thinking, “Where are the women?” My ears just went to the music that I liked. Jeff Beck was on the radio, with Blow by Blow, and that was good enough for me. I didn’t need another gender to look at.
Strauss: As a young kid getting into shred guitar, it really was a boy’s club, and I was the same way. I didn’t seek out a female guitar hero to be inspired by. I gravitated towards the players that I liked. I was into Steve Vai, Joe Satriani, Paul Gilbert, Marty Friedman, and Jason Becker. And then, when I first discovered Jennifer, it was like a kid finding a Barbie that looked like her for the first time—there was somebody like me doing it, and here she is on the biggest stage in the world with the biggest star in the world, and it’s not a chick thing. She’s playing circles around all these guys. She’s not there because she’s beautiful. She’s not there because she’s a great performer. She is all those things, but she’s there because of the technique and the performance and just delivering night after night after night. And that was my biggest thing: If she can do it, I can do it too.
Ready to shred! Strauss poses with her Ibanez Signature JIVAX2, and Batten with her steampunk-styled Washburn Parallaxe PXM10.
Photo by Ana Massard
Batten: When I joined Michael Jackson in 1987, I thought, “Now’s the revolution.” Wendy [Melvoin] & Lisa [Coleman] were already with Prince. And I thought, “Okay, a big change is happening.” And then crickets for 10 or 15 years—it was nothing. It’s almost like it took the Internet to get up to speed. Now I tell people, “Not a month goes by that I don’t see some 7-year-old girl in Indonesia who could kick my ass [laughs].”
Strauss: And what’s crazy, when I see these kids coming up hot on our heels, someone always tags me and says, “You better watch out. They’re coming for you.” And I’m like, “No, I applaud them. I lift them up. This is what we’re here for. Women elevating women.” There’s no competition. I don’t have a sense of competition with anybody else out there. I want to see us all succeed. A rising tide lifts all boats, and women succeeding in this industry is a win for everybody. This is an amazing time to do what we do.
Nita Strauss' Gear
This past summer, Strauss released her second solo album, The Call of the Void, featuring vocalists David Draiman (Disturbed), Lzzy Hale (Halestorm), and Alissa White-Gluz (Arch Enemy), among others.
Photo by Ana Massard
Guitars
- Ibanez Signature JIVAX2
- Ibanez Signature JIVA10
- Custom Ibanez Signature JIVAJR
Amps & Effects
- Boss GT-1000 Effects Processor
- Kemper Profiler
Strings & Picks
- D’Addario NYXLs (.010–.046)
- Grover Allman .60 mm
Can you share how playing smaller venues on your own helps you continue to evolve as yourself, versus the big arena gigs?
Batten: The only place you really get satisfaction is when you’re improving as a player. Nobody can take that away from you. Whether you’re doing great, or not so great, as far as the worldview—are you famous this week? Every once in a while, I get people going, “I didn’t know you were still playing.” Well….
Strauss: Well, here I am.
Batten: Michael Jackson’s been gone for quite a while, and I haven’t played with Jeff Beck in 20 years. I’m doing my thing on my level and still putting in as many frequent flier miles as I ever did.
Strauss: The mark of a great hired gun, no matter who you’re playing with, is that you maintain your own style, but you’re always able to execute that person’s vision. Whether I’m going out with Alice, or I’m going out with Demi, you can tell that it’s me on stage, but I’m not going to play the same way that I would with my solo band.
Batten: If you’re going to be somebody that gets hired for different shows, it’s so important to be humble and be aware of what they need, because they don’t necessarily hire you to make you shine. When I got the Jeff Beck gig, he was always going, “I should really give you 10 minutes on your own.” And I said, “Hell no [laughs].”
Jennifer Batten - Whatever
Strauss: You have to strike out on your own, especially when the majority of what people know you as “so and so’s guitar player.” You really have to take that stand and say, “I’m not only someone’s guitar player, I’m also my own identity. I have my own creativity. I have my own vision.” The only time that you have to really flex and be creative is when you’re doing your own thing. You’re not executing anybody’s vision but your own, so I think it’s super valuable.
Do either of you take a different approach to the craft when playing with other guitar players?
Batten: Jeff [Beck] is one of those guys—jump and a net will appear. The first time I played with him, I’ll never forget walking into the room expecting a keyboard player, because ever since the ’70s, he had keyboards. And I thought, “Man, this is not going to cut it.” All these songs that I grew up listening to, like “Cause We’ve Ended as Lovers,” have these lush keyboard backgrounds. So, I took it upon myself to dive deep into guitar synthesizer because I thought those pads were necessary. Like we said before, you’ve got to realize what’s needed. I was there to support.
Strauss: I love to play with Ryan [Roxie] and Tommy [Henriksen]. I think it just fills out the sound so much, and we’ve been playing together for so long that we mesh. We even have this brain-meld where our vibrato syncs up in a way that we don’t plan. So, I think once you play with people for a while, you get sensitive to their tendencies. We don’t even really go over parts before the tour anymore. When you play with people for a long time, you just get a good sense of what they’re going to do.
Both guitarists have worked high-profile, hired-gun gigs while maintaining their own solo careers. “The only place you really get satisfaction is when you’re improving as a player,” says Batten.
Photo by Ana Massard
How important is music education to both of you?
Batten: It’s fun to show people stuff that you’ve learned. There’s an energy that just creates momentum. I’ve done a ton of teaching since my early days, and granted, most of the students don’t want to work, but when you get somebody that’s really into it, the momentum really grows.
Strauss: Just throw them in the deep end of the pool and say, “Figure it out kid, I did [laughs].”
Batten: I give them too much information. I send them PDFs and videos and all this crap that’s enough for six months of work. It’s no wonder they don’t come back every week [laughs].
Strauss: They’re like, “This guitar shit looked like fun, but it’s hard [laughs].” I taught myself how to play by watching DVDs, like Jennifer’s, and I had all the REH instructional videos, all the Shrapnel albums. I learned modes from Frank Gambale’s Modes: No More Mystery and Melodic Control by Marty Friedman. I don’t teach one-to-one, but I do clinics. I have an online course called Rock Guitar Fundamentals. I’ve done my Guitar World and Premier Guitar columns [and interviews], and I think that the way that I teach is really understandable because I’m stupid and I didn’t have anybody teach me [laughs]. I approach it from a very practical standpoint because I had to figure it out myself.
I know you each have creative outlets other than guitar. I’m curious about how that influences your music.
Batten: When I moved to Portland 20 years ago, I took stained glass classes, and I just went bonkers with it. But I moved on from doing glass art to steampunk art. One day I woke up and said, “Gears, I must work with gears,” and I started making these fantasy airships from junk. It’s a really fun place to be. When you get back to music, it’s a lot fresher and energizing. If I can focus on visual arts, I find that a real charge because it’s all the same muscle, it’s all creativity. And I find one muscle helps the other, as the workout queen will tell you [laughs].
Strauss: The workout stuff and the Body Shred challenge [an eight-week fitness challenge created by Strauss] isn’t as much of a creative outlet as a mental health outlet—the better you take care of the machine, the better the machine runs. And when I first started getting healthier and more involved in fitness, I lost some weight, I got sober, and people around me started asking, “What did you do?” I found myself writing Instagram captions and comments. When we created the Body Shred challenge, it was a way to get our community, the guitar and the rock and heavy metal community, more incentivized to get healthier and fit.
Strauss and Batten have outside passions that help fuel their creativity. Strauss does yoga and has her eight-week Body Shred challenge. Batten does steampunk-inspired art.
Photo by Ana Massard
Do either one of you have a secret weapon that isn’t overtly obvious to the average listener or concertgoer that is essential for you when performing?
Batten: I’d say a tremolo. I mean, it should be called an “expression bar” more than a “whammy bar,” but that’s a must-have.
Strauss: Same answer. I’ve gotten to the point where I do a lot of my vibrato with the bar, as a different color tone. When you get up into a really high bend and you get the vibrato on the bar, it gives you a little extra oomph.
Batten: The bar lets you go sharp and flat as opposed to a finger vibrato that’s only sharp. So, it’s not as rounded-sounding. I love it.
Has traveling, whether by air or bus, affected your gear choices?
Batten: My gear is super simple at this point. I’ve been using a Line 6 HX Stomp XL. It’s like I have 30 pedalboards that I can kick into at a moment’s notice. Now, everything I need for sound is in my carry-on. It’s a little heavy to carry, but at least I know, worst-case scenario, I have to borrow or rent a guitar and grab somebody’s jacket, so I don’t look like a hippie [laughs].
Strauss: My rig is so simple. I was a very early adopter of the multi-effect units, so my first pedal ever was a Zoom 505. Now, my touring rig is a Boss GT-1000 direct into the house. I have my tone super dialed into it, and I’m in the mindset of if it’s not broken, I don’t try to fix it. I’m not on a quest for tone unless my tone’s not good. And I love my tone with that pedalboard. They make a palm size one, the GT-1000 Core, so I can throw that in any gig bag and travel all over the world.
Jennifer, do you have a favorite piece of advice that you would give a young guitar player that wants to follow in your footsteps? Asking for a friend [laughs].
Shredding with a smile—Nita Strauss on stage earlier this year.
Photo by Ana Massard
Batten: I remember the angst and the pressure I put on myself to “make it.” And if the record doesn’t do it, my life’s over—that kind of bullshit. As long as you can plant a seed that the only thing that matters is getting better as a musician, things will happen as you put that energy out into the universe. I don’t think you need to stress, as long as you’re spending time with the instrument every day and playing with different people and doing a lot of listening. There’s so much that you can’t control. At the end of the day, if you’re getting better, that’s all that matters. I think the best compliment I’ve ever been given is if somebody comes up to me after a show and says it was inspiring. I go, “Man, that’s the shit.” Because when I go to a show, that’s what I want to get out of it. So that’s my advice. Chill the fuck out.
Strauss: Amen.
After a brief departure to tour with Demi Lovato, Nita Strauss will return to Alice's band for his 2023 tour.
The Alice Cooper North American tour, with an all-new show dubbed "Too Close For Comfort," kicks off in late April in Michigan and continues through late September, including a handful of August stadium shows with Def Leppard + Motley Crue, followed by a co-headlining late summer "Freaks On Parade" tour with Rob Zombie.
Said Alice, "She's Back! Nita asked for a leave of absence to work with someone else, something I always encourage my band members to do. I like them to challenge themselves and try new things. I'm thankful to my old friend Kane Roberts for stepping up and filling in for her, but she'll be back with us for the new tour that starts up in late April. It's going to be great to have her back."
Nita commented, "From the studio to the stage, it's always an immense honor to make music with Alice Cooper!! I'm very excited to be rejoining the band on the road for the 2023 dates, and so I'll see you on the road in April. Let the nightmare return!"
ALICE COOPER ON TOUR:
4/28 — Mt. Pleasant, MI — Soaring Eagle Casino + Resort
4/29 — Youngstown, OH — Covelli Centre
4/30 — Hershey, PA — The Hershey Theater
5/2 — Fort Wayne, IN — Allen County War Memorial Coliseum
5/3 — Milwaukee, WI — Miller High Life Theatre
5/5 — Prior Lake, MN — Mystic Lake Mystic Showroom
5/6 — Bemidji, MN — Sanford Center
5/7 — Sioux City, IA — Tyson Events Center
5/9 — Champaign, IL — State Farm Center
5/10 — Louisville, KY — Louisville Palace Theater
5/13 — Knoxville, TN — The Tennessee Theatre
5/14 — Spartanburg, SC — Spartanburg Memorial Auditorium
5/15 — North Charleston, SC — Performing Arts Center
5/17 — Shreveport, LA — Shreveport Municipal Auditorium
5/18 — Biloxi, MS — Beau Rivage Theatre
5/20 — Daytona Beach, FL — Welcome to Rockville*
*Festival
WITH DEF LEPPARD + MOTLEY CRUE:
8/5 — Syracuse, NY — JMA Wireless Dome
8/8 — Columbus, OH — The Ohio State University Ohio Stadium
8/11 — Fargo, ND — Fargodome
8/13 — Omaha, NE — Charles Schwab Field Omaha
8/16 — Tulsa, OK — Skelly Field at H.A. Chapman Stadium
8/18 — El Paso, TX — Sun Bowl Stadium
CO-HEADLINE "FREAKS ON PARADE" TOUR WITH ROB ZOMBIE:
8/24 — Dallas, TX — Dos Equis Pavilion
8/26 — Tampa, FL — Mid-Florida Credit Union Amphitheatre
8/27 — West Palm Beach, FL — iTHINK Financial Amphitheatre
8/29 — Raleigh, NC — Coastal Credit Union Music Park @ Walnut Creek
8/30 — Virginia Beach, VA — Veterans United Home Loans Amphitheatre
9/1 — Tinley Park, IL — Hollywood Casino Amphitheatre
9/2 — Des Moines, IA — Wells Fargo Arena
9/5 — Clarkston, MI — Pinke Knob Amphitheatre
9/6 — Toronto, ON — Budweiser Stage
9/8 — Scranton, PA — The Pavilion @ Montage Mountain
9/9 — Wantagh, NY — Northwell Health Theatre @ Jones Beach
9/10 — Hartford, CT — XFINITY Theatre
9/12 — Nashville, TN — Bridgestone Arena
9/15 — Bonner Springs, KS — Azura Amphitheatre
9/16 — Englewood, CO — Fiddler’s Green
9/19 — Ridgefield, WA — RV Inn Style Resorts Amphitheatre
9/20 — Auburn, WA — White River Amphitheatre
9/22 — Concord, CA — Pavilion
9/23 — Anaheim, CA — Honda Center
9/24 — Phoenix, AZ — Ak-Chin Pavilion
For tickets + VIP information, go here.