Ted Nugent in Phoenix A Theatrical Night with Cat Scratch Fever and Great White Buffalo
On March 11, 2000, rock audiences in Phoenix witnessed a spectacle that blended classic guitar driven hard rock with theatrical showmanship. Ted Nugent brought his performance to the Great White Buffalo concert, part of the Kiss Opening Night Tour Special, featuring veteran musicians Tommy Aldridge on drums and Marco Mendoza on bass. The evening stood out as a vivid example of Nugent’s commitment to delivering his music with intensity and visual flair.
Ted Nugent entered the spotlight in the late nineteen sixties and early seventies as a solo artist with a reputation for high energy and virtuoso guitar playing. Cat Scratch Fever, originally released in nineteen seventy seven, became one of his most recognizable and enduring songs. The track is anchored by a catchy riff and Nugent’s distinctive guitar tone, which helped secure its place in classic rock radio rotation for decades. Great White Buffalo, from the same era, showcased a different side of Nugent’s songwriting, blending narrative lyricism with driving guitar momentum.
At the March 11 performance in Phoenix, the setlist reaffirmed Nugent’s strength in live interpretation of his classic material. Cat Scratch Fever opened with familiar rhythmic confidence, establishing an immediate connection with the crowd. Nugent’s guitar tone remained sharp and commanding, supported by Mendoza’s solid bass foundation and Aldridge’s seasoned drumming. Together, the trio delivered a performance that was tight, focused, and faithful to the original compositions.
One of the most talked about elements of the show was Nugent’s use of props that blurred the line between music performance and stage drama. At one point, he used a violin style bow on his guitar to produce sustained and eerie tones before turning to a flaming arrow mounted on stage to shoot at his instrument. This unconventional moment was more than a gimmick. For Nugent, it was an extension of his persona as a performer who embraces spectacle and direct engagement with his instrument.
Performances like these also highlighted Tommy Aldridge’s versatility as a drummer. Known for his work with a wide range of rock and metal acts, Aldridge provided a steady and energetic backbone that allowed Nugent and Mendoza to push the music forward. Marco Mendoza’s bass work added depth and groove, reinforcing the rhythmic pulse without overpowering the guitar lines.
Great White Buffalo, presented later in the set, was delivered with equal intensity. The song’s structure allowed the band to explore dynamic shifts within the performance while maintaining clarity and coherence. Nugent’s vocal delivery carried the narrative with a straightforward directness that suited the live environment.
The March 11 show in Phoenix is remembered not simply because of Nugent’s antics, but because it represented a night where classic rock songs were presented with professionalism, energy, and a commitment to audience engagement. In an era where live rock music had evolved significantly since the seventies, this performance reaffirmed the enduring appeal of songs like Cat Scratch Fever and Great White Buffalo when played with conviction and skill.