On Wednesday night in downtown Houston, the House of Blues was charged with an electric energy - from the opening chords of Return to Dust to the triumphant final note of Mammoth's set. This show marked a thrilling convergence of talent: a rising rock force, a seasoned vocal powerhouse and a venue primed for impact.

Return To Dust: Rising from the Underground

    Los Angeles-based Return To Dust have been quietly building momentum on the alt-rock underground, blending grunge grit with modern melodic sensibility. Matty Bielawski, Sebastian Gonzalez, Graham Stanush and London Hudson - are fresh off their new release, Speak Like the Dead, a record that’s drawn comparisons to early Alice in Chains and Badflower. However in Houston they weren’t just showcasing influences - they were defining their own voice.

    They launched into “Black Road,” a moody, slow-burning opener that crept from shadowy verses to explosive choruses, setting the tone for the night. Without pause, they crashed into “Shine,” a muscular anthem built on Stanush’s rumbling bass and Gonzalez’s relentless drive, prompting the first wave of head-banging from the early crowd.

    By the time they hit “New Religion,” the room had filled out, phones lighting up to capture Bielawski's raw delivery, a rasp that balanced emotion with defiance. The mid-set one-two punch of “Bored” and “Belly Up” tightened their grip on the audience, each song combining tension with melody in a way that felt both familiar and fresh.

    They closed with “When You Look at Me,” a slow-burn closer that built from quiet reflection to a cathartic, full-band eruption. As the final notes hung in the air, applause surged - not polite, but earned. For a band still carving its place, Return To Dust’s set felt like a declaration: they’re not just opening shows anymore; they’re demanding to be noticed.

“Raw, real, and ready - Return to Dust proved they’re not here to warm up the crowd, they’re here to wake it up.”

Myles Kennedy: The Virtuoso in Control

    When Myles Kennedy took the stage the energy in the House of Blues shifted instantly. Backed by a tight trio - Zia Uddin on drums and Tim Tournier on bass - Kennedy showcased the power of minimalism done right. Stripped of excess, every note, every beat and every pause carried weight, giving his vocals room to soar and his guitar work room to breathe.

    He opened with “The Art of Letting Go,” a haunting, introspective start that allowed Uddin’s precise drumming and Tournier’s steady bass to create an expansive sonic canvas beneath Kennedy’s voice. The momentum built naturally into “Nothing More to Gain,” where the trio’s chemistry was on full display - tight rhythms supporting melodic leads without ever overpowering them.

    The emotional centerpiece came with “Miss You When You’re Gone,” a slow, heartfelt ballad that silenced the crowd, highlighting the vulnerability and richness of Kennedy’s voice. “Behind the Veil” followed, balancing delicate passages with heavier moments, the trio moving as one to accentuate every dynamic shift.

    Mid-set, “Mr. Downside” brought a darker, driving energy, while “Get Along” offered a brighter more anthemic counterpoint. “In Stride” slowed the pace, giving listeners a moment to reflect on Kennedy’s lyricism and the trio’s nuanced interplay. He closed the set with “Say What You Will,” an arena-sized anthem that left the crowd roaring, a perfect demonstration of how three musicians can fill a room with the power and emotion of a full band.

Mammoth: Headlining with Authority

    By the time Mammoth hit the stage, the House of Blues was buzzing with anticipation. Wolfgang Van Halen, son of the legendary Eddie Van Halen and Valerie Bertinelli, has spent his life surrounded by music. A multi-instrumentalist, songwriter and producer, Wolfgang first emerged in the public eye as the bassist for Van Halen during the later years of the band’s career. Since forming Mammoth WVH in 2014, he has carved out his own identity, blending technical mastery with deeply personal songwriting - proving that his talent extends far beyond his famous surname.

    For this show, Wolfgang was backed by his powerhouse touring band - Frank Sidoris and Jonathan Jourdan on guitars, Ronnie Ficarro on bass and Garrett Whitlock on drums and percussion. They immediately launched into “One of a Kind,” a blistering opener that set the tone for a night of precision, power, and emotion.

    The set flowed seamlessly into “Another Celebration at the End of the World” and “The Spell,” with Sidoris and Jourdan weaving melodic textures over Ficarro’s driving bass and Whitlock’s propulsive drumming. Mid-set songs like “Epiphany” and “Same Old Song” highlighted Wolfgang’s knack for pairing soaring melodies with muscular rock arrangements, giving the crowd both hooks and heft.

    The intimate, anthemic “Like a Pastime” and “Optimist” had the audience singing along, while the heavier “Stone” and “Happy” brought raw, hard-rock energy. The emotionally charged “Mammoth” and “Resolve” offered a dramatic, almost cinematic pause, showcasing the band’s dynamic range and Wolfgang’s commanding presence.

    As the night built to its climax, “Distance” and “All in Good Time” led naturally into “Take a Bow” and “I Really Wanna,” each song flowing seamlessly as the band pushed both volume and intensity. The encore, “Don’t Back Down” and “The End,” left the House of Blues roaring and the crowd exhilarated.

    Every member of the band contributed to the performance’s precision and energy: Sidoris and Jourdan’s complementary guitar work added depth, Ficarro’s bass anchored each song and Whitlock’s drumming drove the momentum flawlessly. However it was Wolfgang’s vision, musicianship and emotional connection with the crowd that made the night unforgettable, proving that Mammoth is not living in anyone’s shadow - they’re defining their own legacy in modern rock.

“Wolfgang Van Halen doesn’t chase his family’s legacy - he’s building his own, riff by riff, night after night.”

Venue & Atmosphere

   The House of Blues in Houston proved to be a fantastic choice for the tour stop - intimate enough to feel connected, yet large enough to deliver full-scale rock impact. Acoustics were solid, the stage lighting dramatic without being overblown and the crowd demographic diverse - die-hard fans and younger newcomers, folks clearly there for the energy. From a reviewer’s view, sound levels were spot-on (not ear-splittingly loud but still visceral), and the band’s visual presentation matched their sonic ambition.

The Verdict

    This night felt like more than just another tour stop - it felt like a convergence of momentum. Mammoth is clearly carving its own legacy and with support from artists like Myles Kennedy and properly-chosen venues like Houston’s House of Blues, the trajectory is steep. For the fans present: a night of rock electricity, memorable moments and proof that when a band hits this stride, live experience still trumps streaming every time.

    If you were there you walked out electrified. If you missed it - you’ll want to catch them next time.

Mammoth Setlist:
One of a Kind
Another Celebration at the End of the World
The Spell
Epiphany
Same Old Song
Like a Pastime
Optimist
Stone
Happy
Mammoth
Resolve
Distance
All in Good Time
Take a Bow
I Really Wanna
Encore:
Don't Back Down
The End

Myles Kennedy Setlist:
The Art of Letting Go
Nothing More to Gain
Miss You When You're Gone
Behind the Veil
Mr. Downside
Get Along
In Stride
Say What You Will

Return To Dust Setlist:
Black Road
Shine
New Religion
Bored
Belly Up
When You Look at Me