Train Review with Photos 8-14-26

Three generations of hits,
humor and heartfelt moments
make for an unforgettable night at
The Cynthia Woods Mitchell Pavilion

    There are concert bills that make sense on paper, and then there are concert bills that seem almost designed to make an entire audience remember where they were when a particular song first entered their lives. Friday night at The Cynthia Woods Mitchell Pavilion in The Woodlands was very much the latter.

    Train brought its Drops of Jupiter: 25 Years in the Atmosphere Tour to the Pavilion, but the evening was far more than a celebration of one band's catalog. With Matt Nathanson opening the night and Canadian hitmakers Barenaked Ladies following, the lineup created a three-generation musical journey through smart pop songwriting, acoustic intimacy, irreverent humor and enormous radio-ready choruses.

    The tour itself marked a major milestone for Train, celebrating 25 years of Drops of Jupiter, the 2001 album that transformed the San Francisco band from a promising rock act into one of the biggest names in contemporary pop-rock. The album and its title track earned Train two Grammy Awards, while songs from the band's three-decade career have continued to become staples of the live-music landscape.

    On a warm August night in The Woodlands, those songs proved they have lost none of their ability to bring a crowd together.

“This wasn't simply a nostalgia trip - it was a celebration of songs that have refused to fade.”

Matt Nathanson: Turning the Pavilion Into His Living Room

    Matt Nathanson opened the evening at 6:42 with a full band behind him, but it didn't take long for the 53-year-old singer-songwriter to make the massive Cynthia Woods Mitchell Pavilion feel considerably smaller. Combining sharp songwriting, self-deprecating humor and plenty of audience interaction, Nathanson delivered an opening set that felt less like a warm-up and more like the beginning of the party.

    He opened with “Car Crash" and a “Boys of Summer” snippet before moving into “Giants” and “Pablo Picasso.” The latter took on a particularly personal meaning when Nathanson shared that he is 53 years old and has been married for 36 years, explaining that the song was about his wife. The story added a warm, personal dimension to a performance that otherwise never took itself too seriously.

“Nathanson has spent enough years on the road to know that the fastest way to win an audience is to make them part of the show.”

    The set continued with “Laid,” Nathanson's cover of the James classic, which quickly became an audience sing-along. His easygoing personality and good sense of humor were evident throughout, as he continually interacted with the crowd rather than simply moving from one song to the next.

“Impossible People” and “Used to Be” followed before Nathanson reached “Bill Murray.”

    For that song, Nathanson took the performance off the stage and walked directly into the crowd, singing his way through the Pavilion audience and even up to the lawn. It was an unexpected move that immediately brought him even closer to the people who had come to see him, turning the amphitheater into an extension of the stage.

    The audience interaction continued when Nathanson returned to the stage for “Faster.” Before beginning the song, he gave the crowd specific instructions on how to participate, telling them when to clap, dance and bounce - even if they were sitting down. The Pavilion audience eagerly followed along, turning the song into one of the most playful and interactive moments of the evening.

“Nathanson didn't just ask the audience to sing along - he gave them choreography.”

    “Faster” also flowed into Prince's “Kiss,” providing another unexpected musical detour before Nathanson and his band moved into “Suspended.”

    Throughout the performance, Nathanson's humor was just as important as the songs themselves. He had an obvious comfort level onstage, never appearing to take himself too seriously while still giving the music the attention it deserved. The full band gave the set a polished, energetic foundation, while Nathanson's personality provided the connective tissue between the songs.

    The performance ultimately built toward “Come On Get Higher,” the signature song that remains the centerpiece of Nathanson's career. By that point, the audience had already been asked to sing, clap, dance, bounce and follow him through the crowd.

    And they had happily played along.

    Nathanson's opening set succeeded because he understood one of the fundamental rules of live entertainment: an audience doesn't want to simply watch a show - they want to feel like they're part of it.

    On this night, Nathanson made sure they were.

Barenaked Ladies: One Week, One Million Dollars and a Whole Lot of Fun

    If Matt Nathanson brought the intimacy, Barenaked Ladies brought the party.

    By the time the Canadian hitmakers took the stage at The Cynthia Woods Mitchell Pavilion, the audience was ready for something completely different - and BNL delivered with the irreverent humor, musical precision and anything-goes energy that have made them one of Canada's most enduring musical exports.

    The current lineup features founding member Ed Robertson on lead vocals and guitar, Jim Creeggan on bass and vocals, Tyler Stewart on drums and vocals and Kevin Hearn on keyboards, guitar and vocals. Adding another family connection to the touring lineup, Robertson's son was also along for the ride, playing guitar.

    The band launched into “Lookin' Up” before moving directly into the instantly recognizable “The Old Apartment.” From there, the evening took one of its first wonderfully unpredictable turns with the “Barenaked Rap / Once in a Lifetime” sequence, a reminder that a Barenaked Ladies concert has never been particularly interested in behaving like a conventional rock show.

“With Barenaked Ladies, you don't simply get the songs - you get whatever happens between the songs, around the songs and occasionally instead of the songs.”

     “Gonna Walk” and “Falling for the First Time” followed, with the latter providing another opportunity for the Pavilion audience to join in. “Big Back Yard” and “Pinch Me” kept the momentum moving before the band delivered “Brian Wilson,” one of the songs that has helped establish BNL as much more than a novelty act.

    The band's musical versatility was on full display when they introduced “Almost Ready,” a new song that gave the audience a glimpse of where Barenaked Ladies are headed while still fitting comfortably alongside the band's decades of material.

    Then came another of the evening's signature surprises: "The Big Bang Theory Theme.” The familiar instrumental opening immediately sparked recognition throughout the Pavilion, proving once again how deeply Barenaked Ladies' music has become woven into popular culture.

    But the biggest curveball of the set was still to come.

A Bass Solo and a Whole Lot of Singing

    Jim Creeggan's upright bass solo became a show within the show, eventually giving way to a mash-up of “Mahna Mahna” and “The Muppet Show Theme.”

    It was ridiculous.

    It was hilarious.

    And it was absolutely Barenaked Ladies.

    The audience then got two of the band's most beloved songs back-to-back with “One Week” and “If I Had $1,000,000.” The Pavilion practically became one giant chorus as fans sang along to every word.

“‘One Week’ isn't really a song you listen to at a Barenaked Ladies concert - it's a song you survive together with several thousand of your closest friends.”

    And then BNL turned the entire show into a musical free-for-all.

The Medley

    The band launched into an extended medley that incorporated “Pink Pony Club,” “TEXAS HOLD 'EM,” “The Gambler,” “HOT TO GO!,” “Sometimes When We Touch” and “So Long, Farewell.” The sequence showcased everything that makes Barenaked Ladies such a unique live act. One moment the crowd was singing along to a contemporary pop hit, the next it was hearing Kenny Rogers, Chappell Roan, Dan Hill and The Sound of Music folded into the same musical adventure.

    And then the stage itself became part of the performance.

    During the medley, Tyler Stewart left the drum kit and came out front to share in one of the focal points of the performance. He danced his way through “HOT TO GO!” along with Robertson and Creeggan, prompting an enthusiastic response from the Pavilion crowd. The sight of the drummer abandoning his kit to dance at the front of the stage perfectly captured the anything-goes spirit of the band.

    But Stewart wasn't finished.

    He came back out front, switching positions with Robertson for a rousing rendition of AC/DC's “Highway to Hell.” With Stewart leading from the front and the crowd enthusiastically embracing the unexpected hard-rock detour, the song became one of the loudest and most entertaining moments of the evening.

“Only Barenaked Ladies could go from ‘The Muppet Show Theme' to ‘One Week' through Kenny Rogers, and Chappell Roan and somehow arrive at AC/DC without it feeling completely insane.”

    The band finally brought the evening to its conclusion with “Lovin' Life,” an appropriately upbeat ending to a set built around exactly that philosophy.

    What made the performance work wasn't simply the number of hits packed into the set. It was the willingness of the band to constantly play with its own material and the expectations of the audience.

    There was a new song.

    There were classic hits.

    There was an upright-bass solo.

    There was a drummer dancing at the front of the stage.

    There was AC/DC.

    And somewhere in the middle of it all, thousands of people were singing “One Week” and imagining what they would do with a million dollars. That is the Barenaked Ladies experience in a nutshell.

     “Lovin' Life” wasn't just the final song - it was the perfect summation of the band's attitude. After more than three decades, Barenaked Ladies still know how to make a massive amphitheater feel like the world's biggest living room and on this night in The Woodlands, they reminded everyone exactly why they remain such a beloved live band.

Train: A Quarter-Century of Hits, Heart and a Few Surprises

    By the time Train took the stage, the Pavilion crowd had already been warmed up by Matt Nathanson and thoroughly entertained by Barenaked Ladies. However the headliners quickly reminded everyone why, after more than three decades, Train remains one of pop-rock's most reliable live acts.

    Led by founding frontman Pat Monahan, Train has evolved considerably since its formation in San Francisco in the early 1990s. The band's breakthrough came with its 1998 self-titled debut album that included the song “Meet Virginia,” followed by the massive success of 2001's Drops of Jupiter. That album's title track became an international smash and earned Train two Grammy Awards, cementing the band's place in modern pop-rock history.

    For this tour, Monahan is joined by Hector Maldonado on bass and vocals, Jerry Becker on keyboard, rhythm guitars and vocals, Matt Musty on drums and vocals and guitarist Butch Walker. The current lineup brings plenty of energy to Train's expansive catalog, while Monahan remains the charismatic focal point.

    The band opened with “She's on Fire,” immediately launching into “50 Ways to Say Goodbye” and “If It's Love.” The set then moved into “AM Gold” and “Play That Song,” before “Whipping Boy” brought a more personal moment.

    Monahan explained that “Whipping Boy” was connected to a relationship he was in at the time, giving the song an added emotional dimension before the band continued through its catalog.

“For Pat Monahan, the songs aren't simply pieces of Train's history - they're chapters of his own.”

    The evening took an unexpected turn when Monahan welcomed Matt Nathanson back to the stage for “Jack & Diane,” the John Mellencamp classic. After spending his opening set connecting with the Pavilion crowd, Nathanson returned to join Monahan for the song, creating one of the night's most memorable collaborations.

    From there, Train moved into “Calling All Angels,” before reaching “Meet Virginia.” The performance of Train's breakthrough hit became another interactive moment. Monahan had the members of the band sign his T-shirt during the song, then began throwing additional Virginia shirts into the crowd. The shirt he was wearing, however, had a different destination. After keeping the autographed shirt on until the end of the song, Monahan spotted a little girl in the audience and gave her the signed shirt.

“The biggest moments of the night weren't always the loudest ones - sometimes they were as simple as a singer handing a little girl a shirt signed by the entire band.”

    Train then shifted into John Denver's “Take Me Home, Country Roads,” with Ed Robertson of Barenaked Ladies joining the band onstage. The unexpected collaboration turned the familiar country-rock classic into another massive sing-along, connecting the three acts on the bill in a way that felt spontaneous and genuine.

    The band returned to its own material with “To Gloria,” which Monahan introduced as a new Train song about a girl who had once broken his heart. There was, however, a twist: Monahan revealed that the woman wasn't actually named Gloria - her name was Diana. He then explained that Diana didn't like roses, while he did and proceeded to sing the song while throwing red roses into the crowd.

    It was romantic, humorous and just a little bit mischievous.

“‘To Gloria’ may have been about Diana, but by the end of the song, an entire Pavilion full of people had become part of the story.”

     “Mississippi” followed, featuring a guitar solo that gave the band an opportunity to stretch beyond its pop-rock hits. “Marry Me” then brought the mood back toward the romantic side of Train's catalog.

    The band next reached for another band's classic with Journey's “Stone in Love,” but this wasn't simply a cover. Monahan brought a very special guest onstage: his son, Rock Richard Monahan, who sang and played guitar on the song. He captured the crowd with his stunning vocals and made it clear he is following in his father's footsteps. Rock Richard remained onstage for “Save Me, San Francisco,” adding guitar to the performance and giving the evening another family moment. The song itself became one of the night's most visually entertaining numbers when large beach balls were released into the audience, allowing fans throughout the Pavilion to bounce them around while Train performed.

“Train's biggest hits filled the Pavilion, but the Monahan family moments gave the night an extra dose of heart.”

    The set continued with “Bruises” before Train unleashed one of its biggest crowd-pleasers, “Hey, Soul Sister.” Thousands of voices joined Monahan on the familiar chorus, transforming the Pavilion into one enormous sing-along.

    Then came “Vacation,” the Dirty Heads cover, with Rock Richard Monahan returning to the stage to sing alongside his father. The father-and-son performance provided another personal highlight late in the set, with the younger Monahan once again adding his voice to his dad's.

“By the time Rock Richard joined his father for ‘Vacation,’ Train's concert had become as much a family celebration as a greatest-hits performance.”

    The band then moved into “Drive By,” complete with a “Hey Jude” snippet that gave the crowd one more opportunity to sing along. Before the show reached its conclusion, Monahan took a moment to address something that had clearly remained on his mind. He apologized to the Pavilion audience for having to cancel a previous Train concert at the venue several years earlier because he had been ill. Monahan told the crowd how happy he was to finally be back

    After all the years, the lineup changes, the hits and the miles on the road, that sentiment seemed to sum up the evening perfectly.

    Train wasn't simply playing The Woodlands, they were finally making good on a return. They did it with a set that balanced nostalgia with new music, unexpected covers with massive hits and personal stories with genuine audience interaction.

    The evening had started with “She's on Fire,” traveled through “Meet Virginia,” “Calling All Angels,” “Marry Me,” “Hey, Soul Sister” and “Drive By,” and included John Mellencamp, John Denver, Journey and the Dirty Heads along the way. More importantly, it felt like a celebration of connection - between band and audience, father and son and three generations of songs.

“After waiting years to return to the Pavilion, Train didn't simply come back - they made the wait feel worth it.”

Three Bands, Three Distinct Identities, One Very Good Night

    What made The Cynthia Woods Mitchell Pavilion show work was the contrast.

    Nathanson brought intimacy and vulnerability. Barenaked Ladies brought unpredictability, humor and musicianship. Train brought the enormous choruses and emotional payoff expected from a headliner celebrating a quarter-century of its signature album.

    Together, the three acts created a rare summer concert experience where the audience could laugh, reminisce, sing at the top of its lungs and still discover something new.

    For Train, the night was a celebration of Drops of Jupiter, but it was also a reminder that a successful band's legacy isn't measured only in record sales or awards. It's measured in what happens when the opening notes of a song begin and thousands of people instinctively know exactly what comes next.

    On this night in The Woodlands, there were plenty of those moments and if the final notes of "Drops of Jupiter" were any indication, Train's journey is far from over.

TrainSetlist:
She's on Fire
50 Ways to Say Goodbye
If It's Love
AM Gold
Play That Song
Whipping Boy
Jack & Diane (John Mellencamp cover) (with Matt Nathanson)
Calling All Angels
Meet Virginia & Take Me Home, Country Roads (John Denver cover)
       (with Ed Robertson)
To Gloria
Mississippi (Featuring guitar solo)
Marry Me
Stone in Love (Journey cover) (with Rock Richard Monahan)
Save Me, San Francisco
Bruises
Hey, Soul Sister
Vacation (Dirty Heads cover) (with Rock Richard Monahan)
Drive By w/ Hey Jude snippet
Drops of Jupiter

Barenaked Ladies Setlist:
Lookin' Up
The Old Apartment
Barenaked Rap / Once In A lifetime
Gonna Walk
Falling for the First Time
Big Back Yard
Pinch Me
Brian Wilson
Almost Ready
Big Bang Theory Theme
Jim Creeggan Upright Bass Solo Mahna Mahna / The Muppet Show Theme
One Week
If I Had $1000000
Pink Pony Club / TEXAS HOLD 'EM / The Gambler / HOT TO GO! /
    Sometimes When We Touch / So Long, Farewell
Highway to Hell (AC/DC cover)
Lovin' Life

Matt Nathanson Setlist:
Car Crash (With snippet of "Boys of Summer" by Don Henley)
Giants
Pablo Picasso
Laid (James cover)
Impossible People
Used to Be
Bill Murray
Faster (With snippet of "Kiss" by Prince)
Suspended
Come On Get Higher