Tomahawk – First Avenue – Minneapolis MN – August 5th 2026

First Avenue presents Tomahawk with special guests The Melvins on August 5th 2026

Review and photos by Kyle Hansen

The Melvins brought their particular brand of controlled chaos to First Avenue on Aug. 5, delivering a blistering performance that was equal parts heavy, unpredictable and exhilarating.

The veteran noise-metal band wasted little time establishing the evening’s mood. With Buzz Osborne’s distorted guitar, Dale Crover’s thunderous drumming and the band’s two-drummer lineup, First Avenue quickly became a pressure chamber of pounding rhythms and grinding riffs.

The setlist balanced newer material with songs that have defined the Melvins’ career. “Working the Ditch” and “Never Say You’re Sorry” were followed by a surprising rendition of the Rolling Stones’ “Sway,” before the band dug into favorites including “Evil New War God,” “Civilized Worm” and “It’s Shoved.”

The middle of the set was particularly strong. “A History of Bad Men,” “The Bit” and “Blood Witch” demonstrated the band’s ability to make unconventional heavy music sound enormous in a live setting. “Hag Me” and “Honey Bucket” pushed the intensity even further, with Crover and Coady Willis creating a pounding rhythmic attack that was difficult to ignore.

The performance reached its fitting conclusion with “Night Goat,” featuring Tomahawk bassist Trevor Dunn. It was an appropriately chaotic finish to a set that never seemed interested in playing it safe.

What made the night especially effective was the Melvins’ refusal to sound like a nostalgia act. Although the band has been making uncompromising music for decades, the performance felt immediate and alive rather than retrospective. Osborne and company played with the confidence of musicians who know exactly how strange they want their music to be—and have no intention of apologizing for it.

First Avenue proved an ideal setting. The historic club’s relatively intimate room magnified every drum hit and guitar blast, allowing the audience to experience the Melvins at close range rather than from a distance.

By the end of the night, the verdict was difficult to dispute: the Melvins remain a formidable live band. They were loud, weird, heavy and remarkably energetic—and First Avenue was better for it.

Thirteen years is a long time to wait for a band to return to the stage. On Wednesday night, Tomahawk made that wait feel worthwhile, delivering a confident, unpredictable and thoroughly entertaining performance at First Avenue.

Fronted by Mike Patton, with Duane Denison, John Stanier and Trevor Dunn completing the lineup, Tomahawk brought together four musicians with remarkably different backgrounds and turned those contrasts into one of the evening’s biggest strengths. Patton’s theatrical presence and distinctive vocals were matched by Denison’s sharp guitar work, Stanier’s precise and powerful drumming, and Dunn’s muscular bass playing.

The band opened with “Flashback” before moving through “SHHH!,” “Predators and Scavengers,” “Business Casual” and “Doomsday Fatigue.” The set continued with “Rape This Day,” “Eureka,” “Birdsong,” “Capt. Midnight,” “Recoil,” “South Paw” and “I.O.U.”

The song selection was especially satisfying for longtime fans. Rather than relying solely on nostalgia, Tomahawk demonstrated the breadth of its catalog, moving effortlessly between tense, atmospheric passages and heavier, more aggressive material. Patton remained the unpredictable center of attention, shifting from controlled vocals to his trademark theatrical intensity without ever losing the musical thread.

The performance also benefited from the chemistry among the four musicians. Stanier’s drumming was a particular highlight, providing a precise rhythmic backbone while Denison and Dunn filled the room with a dense, muscular sound. The result was a performance that felt powerful without becoming unnecessarily bloated.

First Avenue was an ideal setting for Tomahawk’s return. The historic Minneapolis club gave the band an intimate environment in which every strange turn, sudden rhythmic shift and vocal flourish could be felt by the audience. The crowd, clearly aware that this was a rare opportunity, responded enthusiastically.

Audience reaction afterward was equally positive. One Minneapolis concertgoer described Tomahawk as “amazing to see,” praising the musicians for being “on their a-game” and specifically noting that Patton’s vocals sounded excellent.

After more than a decade away from the road, Tomahawk did not return as a museum piece. They returned as a living, adventurous band—and First Avenue provided the perfect room for that comeback.