REVIEW: The Devil’s favorite sons, Rob Zombie and Marilyn Manson, brought tour to Houston
The word “thunderous” might be too often used to describe live music. “Thunderous applause,” a “thunderous roar” or a “thunderous sound” are quick-draw phrases in the world of music reviews. Marilyn Manson and Rob Zombie brought their Twins of Evil II Tour to The Woodlands Aug. 18. I was late.
It is in moments like these, however, I am glad I was late. As I walked towards the Woodlands Pavilion, I became lost. I ended up on the other side of the pond. As I stomped through the mire of humidity and a surprising number of parents with strollers, I heard the first drums of war that is Marilyn Manson live: “Cruci-Fiction in Space.”
There was something in the air that carried along those percussive beats. Manson’s music has always had a marching sound at its base, and the echoes of his voice across the Woodlands spurred me on towards what would be a unique evening with two of metal’s biggest acts.
My march the long way around towards the gate to the Woodlands Pavilion, for there was no other way around once you reach the water, occupied all of Manson’s short set. I noticed significant breaks between songs. Having seen him before in concert, this puzzled me. The breaks were longer than standard stage setup or costume changes. There was a certain energy missing. I breached the gate just as the “Antichrist Superstar” was revving up the audience with chants leading into, well, his song “Antichrist Superstar.” That energy returned in full, but I was surprised to witness the set ending early.
“Are Zombie and Manson trading off every five songs?” I wondered.
What I did not see was Manson’s onstage collapse during “Sweet Dreams,” and the live debate as to whether or not he should be escorted off. What I heard was an artist giving everything they could to their audience to the point of collapse.
Rob Zombie filled the space left by Manson in the best way possible. His set was long, entertaining and bright. He shifted across his discography, playing hits from White Zombie to a few years ago. During an astounding guitar solo by John5, Zombie circled the audience, re-amplifying their night and building energy before hopping back onstage. At one point he called on the audience to scream loud enough to summon the Devil, who, to no one’s surprise, did indeed appear.
Zombie’s breakdown of “Thunderkiss ‘65” into “School’s Out” and “Blitzkreig Bop,” notably closer in style to the original than his released cover of the song, and back into finishing “Thunderkiss 65” was stupendous.
When it came time for the duet “Helter Skelter” between Zombie and Manson, Zombie informed the crowd that Manson was ill and couldn’t perform. The crowd booed, to which Zombie replied, “Why are you booing? The man’s sick.”
I take pause here to reflect on the crowd that night. This same crowd, that saw Manson collapse onstage attempting to perform for them, booed Manson’s illness. How awful must it have been, recovering in the tour bus, to hear your name followed by boos because of your health?
I stand apart from Houston in that moment: being a touring musician is worlds away from easy. It is a toll on your mind, body and soul. It disrupts families, forgets birthdays, and drives through holidays. It can be endless, unrelenting and it is entirely you offering yourself to thousands of hungry mouths so that they may state their entertainment-lust.
For the audience attending that night, an audience aging with their artists, I ask what their expectations of their fellow man to be? If nothing else, Manson’s philosophy that America is obsessed with Christ-like sacrifice is proven by the crowd’s hunger and discontent that night. I am disappointed in my city.
Zombie’s solo rendition of “Helter Skelter” was great, with an ongoing video montage of the Manson Family projected onstage. The recorded version of the song released by both artists near the beginning of the tour is impressive: each flows cleanly into the other, incorporating and distilling their sounds to the soundtrack of a shared stage and an era of rock that is no longer at its height.
Zombie’s set closed out with a trailer for his upcoming movie, “Three From Hell.” Rounding out the night, his encore smashed with “Dragula,” a sensory overloaded headbanger of a closing song.
All in all, the show was a smashing success. Both artists gave it their all, at costs some would argue are too high and others might argue are not high enough. If you were in that audience and found yourself booing the stage to a man’s illness as he tries to entertain you, I ask that you politely not show up to the next show. If you do indeed still buy a ticket and take the ride, leave your misery at the door.
As for Manson and Zombie, thank you for making Houston a part of your reunion. Manson went to Twitter Aug. 20 to reassure fans and to thank Houston for being understanding. However brief or ill-gotten, the show was unique from the tour and stands as a testament to the brutal toll of touring. My respect for both artists has only grown.
Also published on Medium.
