The B-52s and Devo Review with Photos 11-2-25

    On a clear Texas night beneath the canopy of the Cynthia Woods Mitchell Pavilion, three generations of weird came home to roost. With Lene Lovich’s eccentric art-punk sermon, Devo’s dystopian dance science and the B-52s’ technicolor joyride, Sunday’s triple-bill wasn’t just a nostalgia trip, it was a declaration that individuality, humor and rhythm never age.

LENE LOVICH — “Savages, but make It stylish”

    British-American new-wave pioneer Lene Lovich opened the night as the fans were still pouring into the Pavilion, sweeping the stage in her signature theatrical flair - part cabaret, part cosmic poetry.

    Lovich’s opening performance of “Savages” was haunting - an almost spoken-word lament layered over skeletal percussion. By “Blue Hotel,” her elastic voice ricocheted between jazz phrasing and punk urgency. When she launched into “New Toy,” the crowd responded - a reminder that her influence on everyone from Cyndi Lauper to Gwen Stefani is no footnote. “Joan” was delightfully strange, with Lovich acting out the saint’s fiery story in jerky, angular movements that matched her vocal contortions. “Lucky Number” became a joyful sing-along, her quirky call-and-response still irresistible decades later. She closed with “Home,” a slow, introspective closer that drew a hush over the crowd before the applause roared back to life.

    Her brief artful set was a masterclass in eccentric sincerity and she left the stage to a standing ovation from both long-timers and curious newcomers.

“She doesn’t perform songs — she inhabits them, wrapping each lyric in theater and heart.”

Devo — “De-Evolution Never Sounded So Good”

    If Lovich was the spiritual spark, Devo were the intellectual explosion that followed. As the house lights dimmed and the massive screen behind the stage flickered to life with a vintage Rod Rooter Now! infomercial, the audience knew what was coming: an audiovisual onslaught of razor-sharp precision and satire.

    Wearing their matching grey jumpsuits, Mark Mothersbaugh, Gerald Casale, Bob Mothersbaugh, Josh Hager and Josh Freese assembled like androids reporting for duty.

    The band kicked off with “Don’t Shoot (I'm a Man)”, its staccato rhythm and electronic buzz immediately snapping the audience to attention. Gerald Casale’s bass throbbed like a machine heartbeat while Mark Mothersbaugh prowled the stage, delivering his lines with robotic precision and sly humor. “Peek-A-Boo!” followed, its angular riffs and syncopated beats paired with strobing lights, giving the crowd a dizzying, exhilarating jolt. The energy built steadily through “Going Under” and “That's Good,” songs that balanced the band’s trademark sarcasm with driving melodies.

    When“Girl U Want” exploded through the PA they donned their iconic red dome hats and the audience erupted into a chorus of cheers. The song, as tight and funky as ever, highlighted the band’s uncanny ability to keep early ‘80s hits feeling urgent and relevant. Then came the inevitable moment: “Whip It.” Phones shot up into the night sky, and a wave of sing-alongs swept the pavilion, but Devo delivered it with their characteristic irony, proving the song is as much a performance piece as a pop hit.

    The set’s momentum didn’t falter. “Planet Earth” and “Uncontrollable Urge” showcased the group’s jagged post-punk edge, their precision grooves making the complex rhythms feel effortless. By the time “Blockhead” and “Mongoloid” hit, the crowd was fully in their grip, oscillating between dancing, singing and mimicking the band’s iconic stiff-robot movements.

    “Jocko Homo” turned the pavilion into a communal chant-fest, the audience shouting back the call-and-response: “Are we not men? We are Devo!” It was both ritualistic and riotously fun. “Smart Patrol/Mr. DNA” followed, the tightest display of their synchronized stage choreography, pulsing lights and satirical lyrics, a mini theatrical production in itself. “Gates of Steel” closed the main set with the perfect fusion of industrial menace and danceable rhythm, leaving the crowd both exhilarated and a little unnerved.

    Devo returned for the encore with “Freedom of Choice”, a fitting final statement that mixed their signature sarcasm with irresistible hooks.

    Their sound may have been born in the late ’70s, but the message - question authority, reject conformity, embrace absurdity - felt urgently 2025. Devo didn’t just play songs, they conducted a live experiment on cultural decay and the joy of dancing through it.

“It’s punk with a lab coat, satire you can dance to.”

As the B-52s — “Love Shack Lives Forever”

    When the headliners emerged, the entire Pavilion glowed pink and turquoise - a retro-futurist dreamscape. The B-52s, those original architects of party-pop surrealism, walked onstage to a roar that felt like a homecoming.

The Cosmic Revival:

    They opened with “Cosmic Thing,” that buoyant call-to-arms for joyful weirdness, instantly transforming the seated crowd into a dancing mass. Kate Pierson’s voice, that unmistakable crystalline belt, sliced through the cool autumn night, while Fred Schneider strutted and barked like a neon ringmaster. “Mesopotamia” followed with its off-kilter rhythm and sly worldbeat flair, reminding everyone how ahead of their time the band was. “Give Me Back My Man” saw Cindy Wilson in fierce form, her voice soaring across the lawn like heartbreak disguised as disco. “Private Idaho” hit like a wave of camp genius, the surf-guitar riff snapping and snaking while Fred winked through his lines with mischievous precision.

The Heart of the Party:

    The middle stretch of the set was all communal catharsis. “Deadbeat Club” turned the night tender, a wistful ode to friendship and growing up weird. The audience sang every line as if remembering their own first thrift-store outfit or basement band. Then came “Roam.” As soon as the opening synth swells hit, the crowd’s collective pitch rose in delight. Pierson and Wilson harmonized like they’d bottled the sound of sunlight. Hands swayed in the cool night air, even security guards were mouthing the lyrics. “Party Out of Bounds” snapped the spell, jolting the crowd back to wild motion and “Dance This Mess Around” was pure theater, Cindy channeling sass and soul, stomping across the stage as Fred egged her on.

    When the rarely-played “6060-842” appeared, die-hard fans squealed in disbelief. It was a deep cut from the telephone-line days, delivered with raw, garage-band energy that reminded everyone where this band started.

Love, Planets, and Lobsters:

    Then, inevitably, came the anthem. Fred leaned into the mic: “If you see a faded sign by the side of the road…” The crowd exploded before he even reached “Love Shack.” Kate and Cindy’s vocals soared over the audience choir and it was impossible not to grin. They followed with “Planet Claire,” the band’s Martian lullaby. A green wash of light flooded the stage while guitar delivered that eerie, surf-noir riff. It was the kind of moment that reminded you how much musicianship underlies the B-52s’ kitsch.

    Finally, “Rock Lobster.” The synths squealed, the beat dropped and suddenly there was a giant red lobster dancing around the stage along with Devo members clanking tambourines and shouting nonsense syllables while Lene Lovich twirled dramatically all as the entire pavilion howled through the “Down! Down!” refrain.

    If Devo made the crowd think, the B-52s made them feel. Their blend of camp, chaos and craft remains unparalleled. Schneider’s charisma is intact, Pierson’s voice is an ageless miracle and Wilson radiates warmth and power with every note.

Beneath the new fashion and winks lies serious artistry, intricate harmonies, tight grooves and lyrics that celebrate misfits without apology. What could have been a nostalgia act felt instead like a victory lap for joy itself.

Final Thoughts — The Church of the Weird Lives On

Lene Lovich preached individuality.
Devo proved satire still dances.
The B-52s turned all that rebellion into one big party.

    For three glorious hours, The Cynthia Woods Mitchell Pavilion was less a concert venue and more a parallel universe, a place where art, fun and freedom collided in a glittering explosion. If this was the end of an era, it sure went out dancing.

the B-52s Setlist:
Cosmic Thing
Mesopotamia
Give Me Back My Man
Private Idaho
Deadbeat Club
Roam
Party Out of Bounds
Dance This Mess Around
6060-842 (Followed by band introductions)
Love Shack
Planet Claire
Rock Lobster (DEVO and Lene Lovich Band joined onstage and danced for the last half of the song)

Devo Setlist:
Don't Shoot (I'm a Man)
Peek-A-Boo!
Going Under
That's Good
Girl U Want
Whip It
Planet Earth
Uncontrollable Urge
Blockhead
Mongoloid
Jocko Homo
Smart Patrol/Mr. DNA
Gates of Steel
Encore:
Freedom of Choice

Lene Lovich Setlist:
Savages
Blue Hotel
New Toy
Joan
Lucky Number
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