I’m embarrassed to admit how long I pondered the metaphors that I would use to describe the heaviness of Tomahawk and Melvins, as I relate it to the absolute chaos of wind, rain, and lightning that was forecast to descend on New York City while the show was taking place. But then nothing really happened. So let’s try this…
The New York City weather forecast was all bark no bite on Tuesday evening, but Tomahawk and Melvins’ performance at Brooklyn Steel was anything but. I was already a little “cloudy” myself thanks to an edible, but the two bands still delivered a torrential downpour (I couldn’t help it) of epic riffs and thunderous drums (god dammit). Alright I’m done trying to be funny. The show was amazing is what I’m trying to say.
Tomahawk reunited after a thirteen year hiatus to celebrate the 25th anniversary of their debut album with a tour. And if that wasn’t epic enough, Melvins are their support. I don’t think I need to set this up any further, it speaks for itself. Let’s dive in.
MELVINS
Melvins doubled up their drumming, which is almost necessary to match the intensity of the crushing guitar of King Buzzo and Steven Shane McDonald’s bass. they make it look so easy to rock so hard, and they look cool as hell doing it.
The sold out crowd was packed to the walls and were at times singing as loud as the band, if not louder – and for a Melvins show that’s saying something. Leaving the photo pit I walked right into the crowd and enjoyed the set in its entirety.
Particularly mind blowing is the fact the drum kit set ups were mirrored (eg hi-hat on the right side of Coady Willis’ drums vs on the left for Dale Crover.) The synchronization of their drumming was extraordinary. I genuinely didn’t want it to end, especially when Tomahawk’s bassist Trevor Dunn joined the band for a double bass, double drums closer of “Night Goat.” Tomahawk was the only band that could possibly follow such an amazing set.
TOMAHAWK
The mighty Tomahawk opened with “Flashback”, the pit starting to spin as Mike Patton grabbed his hand radio mic and screamed into it. Guitarist Duane Denison was calm and focused and let the energy of his riffs do the talking, while Trevor Dunn was feeling every groove. Drummer John Stanier was, well John Stanier. One of my all-time favorites to watch perform, and Stanier absolutely destroyed.
The band was so tight, no cobwebs to dust off or rust to relieve. What’s more is they all looked so comfortable and happy to be on stage together. They were friends having fun, and we were having fun too, even though the crowd’s energy was admittedly a little subdued.
“The new and improved New York,” Patton joked when trying to hype up the room. “everybody’s all well behaved and shit.” The band’s performance of “Howlie” unleashed a burst of energy the crowd had been holding back as crowd surfers emerged and the pit showed signs of life.
The band closed with “Totem” before returning for two encores, ending the night with a cover of Jimmy Van Heusen’s “All The Way.”
Tomahawk and Melvins’ tour may be titled “A Huge Waste of Your Time and Money,” but the experience of watching the bands perform proves without question that it is anything but.
