Three bands, one loud room!
By the time people started filling into Boeing Center at Tech Port on April 22, the room already had that familiar pre-show hum. Drinks in hand, old tour shirts in the crowd, conversations about the first time people heard BUSH back in the 90s. It felt like a crowd that had grown with these songs instead of simply remembering them. Some fans stood close to the barricade early. Others stayed farther back, taking in the room before the lights dropped.
The mix in the building was interesting. There were longtime fans who had clearly seen this band before, younger rock fans there for the full lineup, and people who looked like they came because these songs had stayed with them longer than they expected. It gave the night a different kind of energy. It was relaxed before it was loud.
With James and the Cold Gun and Mammoth warming up the stage first, the room slowly shifted from conversation into attention. By the time BUSH was ready to walk out, the anticipation felt real. Nobody needed a countdown. People were already there with them.
JAMES AND THE COLD GUN
The night opened with James and the Cold Gun, and they set the tone fast. The rock band from Cardiff, Wales, started their powerful set with “Split Second.” It came out sharp and immediate, with a guitar sound that felt raw enough to wake the whole room up. “Twist The Knife” and “Fragile” carried that same push, gritty but controlled.
The band consists of James Joseph and James Biss, who are joined on tour by Gaby Elise on bass and drummer Benny Mead.
What worked about their set was the directness. No unnecessary stage talk, no wasted space between songs. They just let the riffs and momentum do the work. By the time they closed with “Chewing Glass,” the crowd was fully warmed up. For an opening act, they did exactly what you want. They made people pay attention.
MAMMOTH
Mammoth WVH stepped in with a set that felt grounded but full. Fronted by Wolfgang Van Halen, the project carries a legacy in its name, but the music never leans on that as a crutch. The name itself is a nod to an early version of Van Halen, the band where Wolfgang played bass from 2007 to 2020 alongside his father Eddie Van Halen and uncle Alex Van Halen. Still, what he’s doing here feels separate. More personal, more direct.
They opened with “One Of A Kind,” and it landed right away. Big sound, tight playing, and a clear sense of control. “Another Celebration At The End Of The World” followed with a strong mix of melody and weight, showing how the band balances heavy moments with hooks that stick.
What stood out most was how focused everything felt. No extra flash, no wasted movement. Wolfgang stayed locked into the performance, letting the songs carry the set. You could tell he’s not trying to recreate anything from the past. He’s building something that stands on its own.
“The Spell” and “Distance” added a more emotional layer. Those songs hit differently. You could feel the shift in the room, people paying closer attention, not just reacting but actually listening.
Closing with “The End” felt right. It gave the set a solid finish without overdoing it. By the time they walked off, the crowd felt fully on board. Not just impressed, but connected to what they heard.
BUSH
The Land of Milk and Honey Tour
Then came Bush, and from the first notes of “Everything Zen,” the room changed. Suddenly everyone was fully in it. Gavin Rossdale still has that same mix of control and unpredictability on stage. He never stands still for long, constantly moving, leaning into the crowd, making the space feel smaller and more personal.
The opening run of “Everything Zen,” “Testosterone,” “We’re All the Same on the Inside,” “Bullet Holes,” and “Warm Machine” was smart. It mixed older material with newer tracks in a way that didn’t feel forced. The set never came off like a greatest hits checklist, but it also knew exactly when to give people the songs they came for.
The biggest emotional moment of the night came with “Glycerine.” The second the first chords rang out, the entire venue sang with him. It wasn’t loud in a chaotic way. It felt unified. One of those rare concert moments where the artist almost steps back and lets the room carry the song.
Then came “Flowers On A Grave,” and Gavin ran straight into the crowd. That move shifted the energy again, pulling people closer and turning the song into something more physical and immediate. Fans were reaching out, singing, trying to hold onto the moment.
For the encore, “Machinehead,” “Swallowed,” and “Comedown” was a perfect closing stretch. No filler, just songs that still hit with real force.
How BUSH Built Their Sound
Formed in London, England, BUSH broke through in the mid-1990s with a sound that blended grunge heaviness with a more melodic, emotional core. Fronted by Gavin Rossdale, the band became a major part of that alt-rock era through records like Sixteen Stone and Razorblade Suitcase.
What keeps fans coming back is how direct the songs feel. Big guitars, strong choruses, and lyrics that sit somewhere between frustration and reflection. Even years later, tracks like “Glycerine,” “Machinehead,” and “Comedown” still connect because they never felt tied to one moment in time.
Walking out of Tech Port, the feeling in the crowd was easy to read. People were still talking through favorite songs, replaying the encore, and laughing about Gavin jumping into the audience.
This show worked because it didn’t lean too hard on nostalgia. It respected the older songs while still making room for the newer material. Nothing felt phoned in.
For longtime fans, it was a reminder of why these songs stayed with them. For newer listeners, it showed that BUSH can still hold a room without relying on old memories alone.
It was loud, grounded, and exactly the kind of rock show that still feels good to leave buzzing from.
