 |
Rob Zombie / Alice Cooper |   | |
|
Rob Zombie and Alice Cooper Unite The
Cynthia Woods Mitchell Pavilion in The Woodlands, Texas was the
epicenter of a night filled with heavy riffs, theatrics and a
celebration of rock and metal. Headlined by Rob Zombie, the concert
also featured Alice Cooper, Ministry and Filter, making it a must-see
event for fans of the genre.
Filter kicked off the evening setting the tone with their industrial rock sound. The setlist was a mix of hits and newer material, carefully selected to keep the momentum going and highlight the band's evolution. Fan favorites like “Hey Man, Nice Shot” and “Take a Picture” were clear highlights of the performance. “Hey Man, Nice Shot,” with its unmistakable bass line and raw intensity, drew one of the loudest reactions of the night with the crowd chanting along to every word. “Take a Picture,” on the other hand, provided a melodic break with its anthemic chorus and Richard Patrick’s emotive vocals, creating a powerful sing-along moment that filled the Pavilion. Despite being the opening act, Filter made excellent use of their time on stage. The band’s tight musicianship was on full display, with driving drum beats and thick guitar riffs creating a wall of sound that filled the large outdoor venue. Patrick’s impassioned vocals drove the performance, while Jonathan Patrick on guitar, Bobby Miller on bass and Tosh Peterson on the drum kit provided a solid, cohesive backdrop. The sound mix was well-balanced, ensuring that every element, from the pulsating rhythms to the atmospheric synths could be felt and heard clearly. While the set was relatively short, given their slot as the night's opener, Filter made a strong impression, delivering a performance that was both nostalgic and forward-looking. They managed to strike a perfect balance between their industrial roots and more melodic tendencies, showcasing the versatility that has kept them relevant in a rapidly changing music landscape. Ministry took the stage next turning the energy dial up several notches. Al Jourgensen and company delivered a charged set filled with aggressive beats and dark, politically charged themes. Kicking off with "B.D.E.," Ministry set an ominous tone right from the start with heavy beats and abrasive guitar riffs that immediately grabbed the audience's attention. Jourgensen's vocals, a blend of growls and snarls, cut through the dense wall of sound, driving home the band’s urgent and often confrontational messages. The setlist was a mix of classic tracks and newer material, each song punctuated by the band's signature blend of grinding guitars, pounding drums and layers of synths. Songs like "N.W.O." and "Just One Fix" brought the crowd to their feet, their familiar riffs and relentless energy sparking headbanging throughout the Pavilion. These tracks, with their potent mix of industrial noise and metal aggression, served as a reminder of Ministry's enduring influence on the genre. The musicianship of the band was top-notch, with Cesar Soto and Monte Pitman's guitar work delivering crushing riffs that shook the venue. The rhythm section, anchored by drummer Pepe Clarke Magaņa and bassist Paul D’Amour, was relentless driving each song with an unyielding intensity that kept the energy high from start to finish. Keyboardist John Bechdel added the essential electronic textures that are a hallmark of Ministry’s sound, blending seamlessly with the heavy instrumentation to create a dense, immersive audio experience. Ministry closed their set with "Jesus Built My Hotrod," wrapping up the night with a song that perfectly encapsulated the band’s elements of rockabilly and psychobilly. As the final notes rang out Jourgensen took a moment to thank the crowd, raising a fist in solidarity before disappearing off stage, leaving behind an audience buzzing with adrenaline. Then came Alice Cooper, the godfather of shock rock, who proved that age is just a number. With a theatrical performance that included a straight jacket and a plethora of costume changes, Cooper brought his usual flair and macabre showmanship. From the moment the curtain dropped, revealing Cooper standing tall with sword and top hat, the audience was transported into a world of theatrical rock and roll that only he can deliver. Cooper opened with the song "Lock Me Up," off of his 1987 solo career album Raise Your Fist And Yell instantly setting the tone with his theatrical flair. Backed by a powerhouse band, including the stellar guitar work of Nita Strauss, Ryan Roxie and Tommy Henriksen, Cooper's voice sounded as strong as ever slicing through the night air with a sharpness that belied his years. The stage was a visual feast, adorned with props ranging from giant monsters to medieval torture devices, all contributing to the macabre circus that is an Alice Cooper show. The setlist was a well-balanced mix of greatest hits and deeper cuts, satisfying both die-hard fans and those there for the classics. Songs like "No More Mr. Nice Guy," " Under My Wheels" and "Billion Dollar Babies" kept the energy high, with the crowd singing along and cheering at every familiar riff. However, it was during "Poison" that the audience truly erupted, with the entire Pavilion joining in on the chorus, amplifying the already electric atmosphere. Alice Cooper’s shows are as much about the visuals as they are about the music and this performance was no exception. Known for his elaborate stagecraft, Cooper did not disappoint, incorporating everything from a live snake to a guillotine into his act. One of the night’s most memorable moments came during "Ballad of Dwight Fry," where Cooper, in a straitjacket, struggled against his restraints before being led to his infamous guillotine. The execution scene, a staple of his shows, was met with thunderous applause as Cooper’s decapitated head was triumphantly displayed. A slightly twisted Marie Antoinette with an evil twinkle in her eye, who by the way is played by his wife Sheryl Goddard Cooper whom he has been married to for nearly 50 years, proudly held his decapitated head hight for all the crowd to see. Cooper’s band was in top form bringing a contemporary edge to his timeless songs. Guitarist Nita Strauss was a standout, her solos electrifying and her stage presence magnetic. Drummer Glen Sobel and bassist Chuck Garric laid down a thunderous rhythm section, driving the show forward with unrelenting energy. The band’s chemistry was on point, and their enthusiasm was infectious, adding an extra layer of excitement to Cooper’s already dynamic performance. Throughout the concert, Cooper’s charisma and command of the stage were undeniable. His interaction with the audience was frequent and engaging, from playful winks to dramatic gestures that had the crowd eating out of his hand. Despite the theatricality, there was an authenticity to Cooper’s performance that resonated deeply, he’s a showman through and through but one who clearly loves every minute he’s on stage. The set closed with a rousing rendition of "Elected" and "School’s Out," complete with giant balloons, confetti, and plenty of crowd participation. As the audience chanted along to the iconic anthem, Cooper fused "School's Out" with a snippet of Pink Floyd's "Another Brick in the Wall," creating a memorable finale that left everyone on a high note. Alice Cooper's performance at the Cynthia Woods Mitchell Pavilion was a masterclass in rock theatrics and musicianship. At 75, Cooper shows no signs of slowing down; if anything, his performances are as vibrant and captivating as ever. For those who attended, it was a night of nostalgia, showmanship and pure rock and roll magic, a reminder of why Alice Cooper remains a beloved icon in the music world. Finally, closing out the night Rob Zombie brought his signature blend of horror, metal and high-octane showmanship to the Cynthia Woods Mitchell Pavilion, delivering a concert that was nothing short of a wild ride. From the moment he stepped on stage, it was clear that the audience was in for a night of spectacle, shredding guitars and all the campy horror aesthetics that have become Zombie's trademark. Opening with the electrifying "Demon Speeding” Zombie wasted no time in setting the tone for the evening. The stage was a visual extravaganza, with giant screens flashing horror film clips, pyrotechnics bursting in sync with the music and an array of elaborate props that ranged from giant robots to retro-futuristic podiums. Zombie, dressed in his usual fringe-heavy outfit and sporting his unmistakable dreadlocks, commanded the stage with relentless energy, prowling from one side to the other and constantly engaging with the crowd. Zombie’s stage presence is magnetic and his energy never waned as he stormed through a setlist filled with fan favorites like "More Human than Human" and "Living Dead Girl." The stage production was a visual feast featuring pyrotechnics and plenty of horror movie visuals that kept the crowd engaged from start to finish. Zombie’s band was in top form, with Mike Riggs’ shredding guitar solos adding an extra layer of intensity to the performance. Heading up the thunderous rhythm section for Zombie are Ginger Fish on Drums and Rob "Blasko" Nicholson on bass. The setlist was a well-curated mix of both old and new material. Classics like "Superbeast" got the crowd roaring, while newer tracks such as "The Triumph of King Freak (A Crypt of Preservation and Superstition)" blended seamlessly into the set, showcasing Zombie's ability to evolve musically while staying true to his roots. One of the standout moments was Zombie's performance of "Thunder Kiss '65," the song sparking a massive sing-along. Connecting with the audience he frequently encouraged them to get louder and wilder, creating an atmosphere that felt more like a giant party than just a concert and just before starting "Thunder Kiss '65" he asked everyone if they could put down their phones just for 3.5 minutes so the could totally enjoy the song and the concert atmosphere. For the encore "Dragula," every person was singing along with Zombie; "dig through the ditches and burn through the witches" until the final note of the evening. Visually the show was a feast for the senses. Zombie's penchant for horror movie imagery was on full display, with clips from cult classics and psychedelic animations playing throughout the performance. The lighting and effects were perfectly timed, adding layers of intensity to the already heavy sound. The combination of sight and sound made for an immersive experience that felt like stepping into a living, breathing horror movie. Despite the heavy production, Zombie's personality shone through. His banter with the crowd was lighthearted and full of humor, a stark contrast to the darker themes of his music. He shared anecdotes, cracked jokes and even took a moment to acknowledge and thank the opening acts, reinforcing his reputation as one of the most genuine and down-to-earth performers in the rock world. Rob Zombie's performance at the Cynthia Woods Mitchell Pavilion was a masterclass in how to deliver a rock show that is as entertaining as it is musically powerful. With his theatrical flair, high-energy performance and the undeniable talent of his band, Zombie proved once again why he remains a staple of the rock and metal scenes. Fans left the Pavilion buzzing with excitement, their ears ringing and their minds filled with the vivid imagery of one of the most visually captivating concerts of the year. If there was ever any doubt that Rob Zombie is still at the top of his game, this show laid them all to rest. Overall the concert was a perfect blend of nostalgia, showmanship and raw rock power. Each band brought their unique style and energy, making for a dynamic and memorable night. Rob Zombie, Alice Cooper, Ministry, and Filter delivered performances that honored their legacies while proving that they still have plenty of fire left. For fans of hard rock and metal, this concert was a dream lineup, and The Woodlands was lucky to host such an electrifying night of music. Rob Zombie Setlist: Demon Speeding Dead City Radio and the New Gods of Supertown Feel So Numb Well, Everybody's Fucking in a U.F.O. What Lurks on Channel X? Superbeast The Lords of Salem Never Gonna Stop (The Red, Red Kroovy) The Triumph of King Freak (A Crypt of Preservation and Superstition) Drum Solo The Satanic Rites of Blacula More Human Than Human (White Zombie song) Living Dead Girl Thunder Kiss '65 (White Zombie song) Encore: Dragula Alice Cooper Setlist: Lock Me Up No More Mr. Nice Guy I'm Eighteen Under My Wheels Billion Dollar Babies Hey Stoopid He's Back (The Man Behind the Mask) Snakebite Feed My Frankenstein Poison Black Widow Jam Ballad of Dwight Fry Killer / I Love the Dead Elected School's Out (Snippets of Pink Floyd’s Another Brick in the Wall Pt 2. band intros) Ministry Setlist: B.D.E. Goddamn White Trash Just Stop Oil Stigmata N.W.O. Just One Fix Thieves Jesus Built My Hotrod Filter: You Walk Away (Can't You) Trip Like I Do Obliteration Take a Picture Welcome to the Fold Hey Man Nice Shot |
                     Alice Cooper                                Ministry                Filter             
|
| Rocking H-Town Live Home | Reviews |