One would have to dig deep to come up with a pair of bands that that fit together more perfectly than metal/noise supergroup Tomahawk and Pacific Northwest legends Melvins. The two bands not only appeal to a similiar audience but the members of both groups are hopelessly intertwined in a pig pile of musicians and groups that share a like devotion to inspired weirdness, extreme volume, and unmistakable heaviness (Redd Kross, the Jesus Lizard, Big Business, Mr. Bungle, Helmet, Fantamos, Battles, Faith No More, and, of course, Melvins and Tomahawk). The ostensible ringleaders of the scene are Buzz Osborne and Mike Patton but all of the players share a commitment to challenging and exploratory art while never letting their artistic ideals compromise their inherent predisposition to rock and rock hard.

Melvins have assumed multiple different configurations over the years and cycled through a number of bass players, with guitarist and vocalist Buzz Osborne and drummer Dale Crover being the constants throughout the band’s lifespan. The current two drummer line-up has been intact for a bit now and last visited Seattle at the Showbox just about a year ago, supporting Napalm Death. At this point it’s probably best to dispense with the descriptor ‘support act’ in reference to Melvins, especially in the Pacific Northwest. Tomahawk was fantastic last night and, given the length of time since their last live shows, totally deserving of their spot at the top of the bill. That said, no band is going to overshadow the Melvins in front of a Seattle audience. It’s just not going to happen.

Melvins took the stage last night to Jimi Hendrix’s ‘Star Spangled Banner’ and crashed into ‘Working the Ditch’ from 2024’s ‘Tarantula Heart’. They started last year’s Seattle set with the same song and I remember being suitably impressed by their pounding delivery, finding the performance not the least bit lacking. That said, Melvins were sharper and just a bit more focused and savage at the Showbox Tuesday night. They drew from all phases of their career and breathed heartfelt and convincing fire into sometimes 30 year old tunes. I wouldn’t think the reasons for this leaner, meaner, harder Melvins would be shrouded in mystery. They’ve played a lot of shows since spring 2025 and the 4 bandmates clearly enjoy performing together. That’s a time-honored recipe with a high return rate and the 2026 Melvins are the proof. They had the audience in the palm of their hands for the entire set but energy and crowd response ramped precipitously toward the conclusion of their hour onstage. Trever Dunn, bass player from Tomahawk took the stage and Melvins tore into their sludge classic ‘Night Goat’. The now double drum, double bass combo delivered a roof rattling, fittingly heavy, nay, PUMMELLING conclusion to a truly memorable performance. The audience ovation as Melvins took their leave of the stage was more thunderous than any crowd reaction I’ve heard this year. A tip of the heavy metal cap to Buzz Osborne, Dale Crover, Steven McDonald, and Cody Willis. Very nicely done, gents.

There was considerable excitement among devotees of heavy music last year when word came down that Mike Patton (Faith No More, Mr. Bungle, and so much more), Duane Denison (the Jesus Lizard), Trever Dunn (Mr. Bungle), and John Stanier (Helmet) would be reconvening for a series of live dates this summer. Thirteen years had passed since the band’s last gigs and this particular group of musicians generates keen interest among the experimental/weirdo metal crowd. The band did not record new material this time around and have been mining material from their 5 long players, the most recent of which was recorded in 2021. Tuesday night’s show contained cuts from each album with the wildcard of the night being a perversely straight cover of the George Jones classic ode to broken hearted boozin’, ‘Just One More’. The late, great Duane Eddy also got a shoutout with a spirited take on ‘Stalkin’.

Tomahawk live are an experience (take a richly deserved bow if you detect an intentional understatement, dear reader). The band members are a study in contrasts, yet they come together to form a remarkably cohesive and cogent musical whole. Drummer John Stainer is a steady presence, smiling cheerfully behind his kit while bashing it into submission. Bassman Trever Dunn cuts a smart figure in his bad guy cowboy hat and matching vest while laying down an ever inventive foundation for Tomahawk’s heavy flights of fancy. Duane Denison (last seen in these parts with the remarkable Jesus Lizard at the Neptune in the spring of 2025) is content to lurk in the shadows while delivering well timed bursts of feedback, the odd surf lick, and evocative, twangy guitar accents straight out of an Ennio Morricone soundtrack. I’m a big Duane Denison guy and he did not disappoint at the Showbox Tuesday night. Which brings us to Mike Patton. Much has been written over the years about this wildly talented, (mostly) lovable oddball but it’s a thankless task to attempt to capture his presence and skills accurately on the written page. Patton can go from a deep Howlin Wolf/Captain Beefheart style growl to goofy, Faith No More compatible rapping to soaring, opera-esque vocalizations in less time than it took me to type this sentence. In Tomahawk, his anything goes vocals are accompanied by a fair bit of noodling on a Rube Goldberg worthy collection of analog electronic devices positioned a center stage. Patton intently works his gizmos while the band churns away, occasionally grabbing a handheld mic to step out from behind his station and let loose with his vocal acrobatics. It’s a freaky and entertaining visual and audio spectacle and Tuesday night’s audience ate it up with gusto and demanded seconds.