I've been trying my hand at writing about music for about a year now, and I'll admit that recapping the concert experience still feels like a weak point for me. Take, for example, last night's Tomahawk and Melvins show at First Avenue. The main question that any concert review show answer is if the performances were good or not. If you're reading a recap of a Mike Patton project's show, you already know it was good. The man simply does not phone things in. The same can be said about the Melvins - Buzz Osborne is an old pro, and knows how to deliver live. So yes, both bands were great last night, but if you read on, I'll try to deliver a few other takeaways that are worth your time. 

Melvins kicked off last night's festivities - there's no additional opener on this two-band tour. That's fine, we've all got places to be in the morning. In my experience, saying "Melvins are on the bill" never tells you exactly what to expect - there have been so many different configurations of the band over the years. This tour incarnation includes dual drummers, which Melvins have been doing off an on for several years. While I've seen and appreciated the lean "Melvins Lite" version of the band in the past, this incarnation delivers a lot of extra heft and is a blast to watch. Drummers Dale Crover and Coady Willis are fascinating to watch, as they can perform in incredible union and also pull apart to trade off complimentary drum solos. I'm certainly not an expert on drumming styles, but these cooperative solos definitely show off the unique styles of each. 

The Melvins' set pulled heavily from A Senile Animal and Houdini, with a smattering of songs from other albums included, such as one of my favorite Melvins tracks, "The Bit." Buzz Osborne focused on shredding and singing, leaving the minimal stage banter to bandmate Steven McDonald. The hour-long set closed out with Trevor Dunn of Tomahawk adding base to the classic shredder "Night Goat."

Trevor Dunn and the rest of Tomahawk returned to the stage a half hour after Melvins wrapped up, and from the moment they hit the stage, the Mike Patton-led band delivered their unique blend of heavy experimental rock with seemingly boundless energy. I don't think Patton is capable of coming across as anything other than a manic goofball, and watching him rapidly switch between his wide variety of vocal styles is always a delight. The setlist pulled heavily from the bands first and last albums, with a couple tracks from Oddfellows and Mit Gas included as well. Their third album, Anonymous was mostly overlooked, with only the song "Totem" included in the set list.

Patton engaged in a few moments of goofy banter with the sold-out crowd, who responded enthusiastically to every track and comment. The man has a natural charisma that never seems forced or rehearsed, so it's no surprise that he commands such a loyal fanbase. While watching him, you get the feeling that he's having the time of his life, and he's not afraid to throw in unpredictable vocal flourishes or facial expressions. As a result, Tomahawk's live performance may not be as razor precise as some other bands out there, but they feel alive and vital, slightly chaotic in a way that's thrilling.

Stray observations:

• Does Buzz Osborne have one of his now-signature performance dresses, or several? You'd think he'd get sweaty in that thing.
• Mike Patton sure does love rocking goofy hairstyles.
• There were a handful of attendees that were easy to identify as having been to Fire in the Mountains, thanks to their festival-exclusive merch.
• Speaking of, witnessing a guy fall to the floor and struggle to get up during the first Melvins song really speaks to the appeal of dry music festivals.
• I didn't get one, but the Tomahawk 25th anniversary buffalo logo t-shirt is an absolutely banger shirt.