By Honey Rumbles / Jeff Arnhart Photography
Shock and Steel:
Alice Cooper, Judas Priest & Corrosion of Conformity
Ignite The Woodlands
"It wasn’t just a concert — it was theater, metal and madness wrapped in one glorious scream.”
A Night of Legends
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The Cynthia Woods Mitchell Pavilion shook under the weight of three generations of rock power Sunday night. With Alice Cooper headlining, Judas Priest firing on all cylinders and Corrosion of Conformity
opening with a wall of southern groove, it was a heavy-music trifecta
that honored the past while proving the genre is still gloriously alive.
Fans
in denim vests and painted faces filled the amphitheater, the fall air
thick with anticipation. By the night’s end, it was clear — legends
don’t fade; they only get louder.
Corrosion of Conformity:
“Southern Grit Ignites the Pavilion”
A fresh cool Texas evening had settled over The Cynthia Woods Mitchell Pavilion, but it was no match for the molten groove that poured from Corrosion of Conformity’s
amplifiers. The legendary North Carolina sludge-metal outfit: Pepper
Keenan (vocals, guitar), Woody Weatherman (lead guitar), Bobby Landgraf
(bass) and Reed Mullin’s torch now carried by Stanton Moore on drums,
rolled into The Woodlands like a freight train made of riffs,
distortion and southern grit.
The
band wasted no time reminding the crowd why they’ve endured for over
four decades. Opening with the growling low-end of “Bottom Feeder (El
que come abajo)”, Corrosion of Conformity
set the tone: this wasn’t going to be a night of nostalgia, but a
sermon of sludge and soul. Keenan’s voice, whiskey-soaked and worn with
experience, cut through the thick air, commanding the stage with the
swagger of a road-hardened preacher of heavy. Next, as “King of the Rotten”
kicked in, Woody Weatherman’s guitar work snaked and snarled through
the mix, his tone equal parts blues and apocalypse. The crowd was
locked in, headbanging in time to every downbeat like a synchronized
army of the faithful.
Keenan grinned before launching into “Seven Days”, a fan favorite that hit with swampy groove and melodic weight. Bassist Bobby Landgraf,
a stoic powerhouse, anchored every song with his snarling tone and
rhythmic precision, his lines cutting through like thunder in slow
motion.
By the time the band dove into “Diablo Blvd.” and “Who’s Got the Fire”, it was clear Corrosion of Conformity wasn’t just revisiting old ground, they were reigniting it. Stanton Moore’s
drumming was fierce yet fluid, honoring the late Mullin’s spirit with
unrelenting energy. His fills and crashes drove the songs forward like
gasoline poured on a long-smoldering flame.
The highlight of the night came when the unmistakable opening riff of “Albatross”
rippled through the amphitheater. The crowd roared in recognition,
fists in the air, as Keenan leaned into every syllable of the chorus,
“Fly on my sweet angel…” It was pure communion between band and
audience.
They closed their set with the thunderous “Clean My Wounds,” weaving in a sly snippet of Judas Priest’s “Victim of Changes,”
paying tribute to the metal gods. The groove was
infectious, the solos searing, and when the final notes faded, the
crowd’s cheers echoed long after the lights dimmed.
“This wasn’t nostalgia—it was a sermon of sludge, sweat and southern steel.”
Judas Priest:
“Metal Gods Unleash Fire and Leather”
When Judas Priest descended upon The Cynthia Woods Mitchell Pavilion,
The Woodlands shook beneath the weight of metal history. With five
decades of firepower behind them, the Birmingham titans showed exactly
why they’re still the undisputed Metal Gods.
The
night began with an explosion, literally and figuratively, as Rob
Halford (vocals), Richie Faulkner (guitar), Andy Sneap (guitar), Ian
Hill (bass) and Scott Travis (drums) tore into “All Guns Blazing.”
The opening riff hit like a bombshell and Halford’s piercing screams
proved once again that his voice remains one of the most powerful
instruments in heavy metal.
Without pause, the band ripped into “Hell Patrol,”
a speed-fueled anthem that kept the audience roaring. The twin-guitar
attack of Faulkner and Sneap was razor-tight, an absolute clinic in
classic metal riffage. Then came the arena-shaking “You’ve Got Another Thing Comin’,” with the crowd singing every word as Halford commanded the stage like a battle-hardened general.
“Freewheel Burning”
turned up the intensity even further, Travis’s drums kicking into
overdrive while Faulkner shredded his way across the fretboard. The
energy in The Woodlands was electric, thousands of fists pumping in the
air, a sea of metal unity under the Texas night sky.
When the unmistakable intro to “Breaking the Law” hit the crowd erupted. It was pure communion, every voice joining Halford’s in rebellion. Then came a darker turn with “A Touch of Evil,”
where the band dialed down the tempo but cranked up the atmosphere.
Halford’s haunting vocals wrapped the Pavilion in eerie, melodic menace.
As “Night Crawler”
thundered in, the massive video screens lit up with demonic imagery,
setting the tone for one of the night’s heaviest moments. The mood
stayed sinister as they launched into “Solar Angels,” a deep cut that longtime fans greeted with ecstatic recognition.
The band then unveiled “Gates of Hell,” one of their newer anthems, proving that Judas Priest’s creativity still burns just as fiercely as it did in the ’70s. Nostalgia soon roared back when the twin guitars introduced “The Hellion,” leading seamlessly into “Electric Eye.” The pairing sent the crowd into overdrive; pure, precise and impossibly powerful.
“Giants in the Sky”
followed, a soaring tribute that showcased Halford’s ageless voice and
the band’s unmatched chemistry. Then came the inevitable beast; “Painkiller.”
Travis unleashed his trademark drum barrage as Halford hit the high
notes that most singers half his age wouldn’t dare attempt. It was an
overwhelming display of technical brilliance and raw power, leaving the
audience breathless.
After
a brief exit, the stage lights dimmed and the revving of a Harley
echoed through the Pavilion. Halford rode out in full leather regalia
to the screams of thousands as Priest tore into “Hell Bent for Leather.” It was the kind of moment that defines an era, pure spectacle, pure Priest.
They closed the night with “Living After Midnight,”
transforming The Woodlands into one massive sing-along. Fans young and
old shouted every lyric, hands raised, celebrating not just a concert
but a lifetime of heavy metal devotion.
“Five decades in, Judas Priest still sound like the apocalypse set to music—and Halford remains its high-pitched prophet.”
Alice Cooper:
“Shock-Rock Masterclass Ends the Night”
Finally, the master of macabre himself, Alice Cooper turned The Cynthia Woods Mitchell Pavilion
into his personal nightmare carnival, delivering a show that was equal
parts theater, shock and pure rock ’n’ roll brilliance. Decades into
his storied career, Cooper proved once again that he’s not just a rock legend—he’s an institution.
Flanked
by a ferocious band featuring Nita Strauss (guitar), Ryan Roxie
(guitar), Tommy Henriksen (guitar), Chuck Garric (bass) and Glen Sobel
(drums), Alice stormed the stage to “Who Do You Think We Are” and “Spark in the Dark.”
From the first note, it was clear the audience wasn’t just at a
concert, they were stepping into a twisted rock opera directed by the
man who invented the genre.
Dressed in his signature black leather, eyes rimmed with dripping eyeliner, Cooper sneered his way through “No More Mr. Nice Guy” and “House of Fire,”
commanding the stage like a villainous ringmaster. The band’s energy
was relentless, three guitars weaving together walls of sound as
Sobel’s drums pounded like thunder.
Then came the anthemic “I’m Eighteen,” greeted with an eruption of cheers from the crowd, many of whom had grown up with Cooper’s brand of rebellion. He followed it with the sleazy swagger of “Muscle of Love,” and the monstrous “Feed My Frankenstein,”
complete with Cooper’s transformation into a towering creature onstage.
It was classic Alice, equal parts horror and humor, executed with
flawless precision.
The hits kept rolling with “Dirty Diamonds” and “Caught in a Dream,”
the band keeping every transition tight and theatrical. Nita Strauss,
ever the guitar goddess, shined throughout, but her solo spotlight
after “Poison” was a showstopper. Her virtuosic guitar solo had jaws dropping across the Pavilion—fiery, melodic and downright commanding.
From there, the mood darkened as the band dove into the grinding heaviness of “Brutal Planet.” Cooper, now draped in a straightjacket, launched into “Ballad of Dwight Fry,” writhing and screaming as the stage lights flickered like a haunted asylum. The haunting “Cold Ethyl” followed, with Cooper dancing macabrely with a lifeless mannequin, another of his signature twisted love stories.
The band took over briefly for the instrumental “Second Coming” and “Going Home,”
a showcase for their technical precision and onstage chemistry. Roxie,
Henriksen and Strauss traded riffs like seasoned warriors, while
Garric’s booming bass and Sobel’s drumming kept the inferno blazing.
Then came the inevitable explosion, “School’s Out.” Giant balloons floated overhead and the band seamlessly wove in a snippet of Pink Floyd’s “Another Brick in the Wall Pt. 2.” As Alice
introduced each of his band members, the crowd gave thunderous
applause, showing equal love for the musicians who power his dark
spectacle.
When the last chord rang out, Cooper raised his cane, smirked beneath his makeup, and simply said “Class dismissed.”
For over 50 years, Alice Cooper
has been the godfather of shock rock, and in The Woodlands he reminded
everyone why. The spectacle was sharp, the sound massive and the
spirit immortal. It wasn’t just a concert, it was a full-blown rock ’n’
roll séance, led by one of the greatest showmen to ever stalk a stage.
“Even after all these years,
Alice Cooper remains the gold standard for rock theatrics, equal parts
nightmare, nostalgia and pure showmanship.”
Final Thoughts
Three titans. Three eras. One flawless night.
Corrosion of Conformity brought the grit, Judas Priest brought the fire and Alice Cooper turned it all into theater. It was a reminder that while trends come and go, true rock ’n’ roll is eternal.
A powerhouse triple bill that delivered everything rock fans dream of: spectacle, musicianship and pure, unfiltered energy.
“From the first riff to the final scream, The Woodlands belonged to rock ’n’ roll.”
Alice Cooper Setlist:
Hello, Hooray (Judy Collins song) From Tape
Who Do You Think We Are
Spark in the Dark
No More Mr. Nice Guy
House of Fire
I'm Eighteen
Muscle of Love
Feed My Frankenstein
Dirty Diamonds
Caught in a Dream
Hey Stoopid
Dangerous Tonight
Poison
Guitar Solo (Nita Strauss)
Brutal Planet
Ballad of Dwight Fry
Cold Ethyl
Second Coming (Band Only)
Going Home (Band Only)
School's Out (With Pink Floyd's "Another Brick in the Wall Pt. 2" xxxsnippet and band introductions)
Judas Priest Setlist:
All Guns Blazing
Hell Patrol
You've Got Another Thing Comin'
Freewheel Burning
Breaking the Law
A Touch of Evil
Night Crawler
Solar Angels
Gates of Hell
The Hellion
Electric Eye
Giants in the Sky
Painkiller
Encore:
Hell Bent for Leather
Living After Midnight
Corrosion of Conformity Setlist:
Bottom Feeder (El que come abajo)
King of the Rotten
Seven Days
Diablo Blvd.
Who's Got the Fire
Albatross
Clean My Wounds (With snippet of Victim of Changes)
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Alice Cooper
                                   
Judas Priest
                           
Corrosion of Conformity
           
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