Nashville, TN – The experimental rock supergroup Tomahawk, featuring Faith No More and Mr. Bungle frontman Mike Patton, guitarist Duane Denison (The Jesus Lizard), bassist Trevor Dunn (Mr. Bungle, Fantômas), and drummer John Stanier (Helmet, Battles), made a highly anticipated return to the live stage last night at Nashville’s Brooklyn Bowl. This marked their first performance since 2013, reigniting a fervent fanbase eager for the band’s distinctive blend of avant-garde rock, heavy riffs, and Patton’s unparalleled vocal acrobatics. The show served as the inaugural date for their extensive joint US tour with fellow experimental rock titans, Melvins, aptly dubbed the "A Huge Waste Of Your Time And Money Tour."
A Decade in the Making: The Return to Live Performance
The evening of July 18, 2026, was steeped in a palpable sense of excitement and anticipation, not just for the band but for an audience that had waited over a decade to witness Tomahawk in a live setting. Formed in 2001, Tomahawk quickly carved out a niche within the broader landscape of alternative and experimental music, distinct from the members’ other acclaimed projects. Their last substantial touring cycle concluded in 2013, following the release of their album Oddfellows. Since then, the band had largely remained dormant on the live circuit, with members pursuing various other high-profile musical endeavors. The announcement of their return, especially with a new album under their belt that had yet to be performed live, created a significant buzz among connoisseurs of challenging and boundary-pushing rock music.
The Brooklyn Bowl Nashville, known for its intimate yet energetic atmosphere, provided an ideal backdrop for Tomahawk’s re-emergence. The venue, part of a chain that combines live music with bowling and dining, offered a close-up experience for fans, allowing them to fully immerse themselves in the intricate sonic tapestry woven by the quartet. The stage presence of the band members, individually celebrated for their contributions to multiple iconic acts, collectively formed a formidable unit, delivering a performance that underscored their reputation for musicianship and unbridled intensity.
The Setlist: A Focus on the Unheard and Fan Favorites
The setlist for the Nashville show was a meticulously crafted journey through Tomahawk’s discography, with a particular emphasis on tracks from their most recent album, Tonic Immobility, released in 2021. The album’s material had never been performed live due to previous logistical hurdles, making its debut a cornerstone of the evening’s performance. Fans were treated to the live premieres of several cuts from Tonic Immobility, offering a fresh perspective on the album’s brooding atmosphere and sharp dynamics. This focus allowed the band to finally bring the sonic landscapes of their latest work to life, showcasing its intricate arrangements and powerful lyrical themes.
Beyond the new material, Tomahawk delved into their back catalog, performing selections from their self-titled 2001 debut, 2003’s Mit Gas, and 2007’s Oddfellows. Notably, the setlist deliberately omitted any tracks from their critically acclaimed 2007 album, Anonymous, which was largely inspired by Native American themes and folk music. While no official reason was given for this exclusion, it is common for bands to curate setlists based on current touring themes, stylistic cohesion, or simply to highlight specific eras or albums. The decision, however, did not diminish the overall impact of the show, which was a comprehensive display of the band’s varied output.
A nostalgic highlight of the evening was the reprisal of their distinctive cover of Duane Eddy’s 1958 instrumental b-side "Stalkin’." Tomahawk’s rendition transforms Eddy’s surf-rock tinged original into a more menacing and atmospheric piece, characteristic of their experimental ethos. The performance demonstrated the band’s ability to reinterpret and reimagine source material, adding their unique sonic signature.
The night culminated with a powerful encore, closing with their arguably best-known song, "God Hates A Coward," from their self-titled debut. This track, a fan favorite, encapsulates the band’s raw energy and confrontational lyrical style. Prior to launching into the song, frontman Mike Patton engaged in his characteristic, often irreverent, stage banter, including a playful rendition of his "beloved blowjob joke," further cementing the unpredictable and darkly humorous atmosphere that often accompanies his performances. This blend of musical precision and theatrical spontaneity has long been a hallmark of Patton’s stage presence, and it was on full display in Nashville.
(Video Embeds would logically appear here in a full article, referencing "God Hates a Coward," "Flashback," "Mayday," and "South Paw," as well as the full concert.)
Tonic Immobility: A Delayed but Resilient Release
Tonic Immobility, Tomahawk’s fifth studio album, was released on March 26, 2021, through Ipecac Recordings. The album was met with critical acclaim, praised for its aggressive yet nuanced sound, dark lyrical themes, and the band’s continued exploration of heavy and experimental music. However, its release coincided with the height of the global COVID-19 pandemic, which imposed unprecedented restrictions on live music and touring. This meant that, despite the album’s strong reception, the band was unable to tour behind it, leaving a significant portion of their new material unheard in a live context for over three years.
The path to their return was further complicated by the cancellation of the Sick New World festival, where Tomahawk had been slated to perform in 2025. This cancellation, which was announced well in advance, once again dashed hopes for fans to see the band live and experience the Tonic Immobility tracks in person. These setbacks only amplified the anticipation for their eventual return, making the Nashville show not just a concert, but a long-awaited vindication for both the band and their patient audience. The current tour, therefore, represents a triumphant overcoming of these past challenges, finally allowing Tonic Immobility to receive the live treatment it deserves.
The Architects of Sound: Tomahawk’s Collective Pedigree
The strength of Tomahawk lies not just in its individual members’ virtuosity but in the synergistic chemistry they generate. Each musician brings a unique and celebrated background, contributing to the band’s distinct sound:
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Mike Patton: A figure synonymous with vocal innovation and artistic fearlessness, Patton’s career spans several genres and influential bands. As the frontman for Faith No More, he redefined alternative metal and rock vocals. With Mr. Bungle, he pushed the boundaries of avant-garde and experimental music. His work with Fantômas explored noise and extreme metal, while his extensive solo and collaborative projects showcase his unparalleled versatility. As a co-founder of Ipecac Recordings, he has also been instrumental in fostering a community for boundary-pushing artists. In Tomahawk, Patton’s voice ranges from melodic croons to guttural screams, often within the same phrase, serving as the central, unpredictable force of the band’s sound.
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Duane Denison: Known for his distinctive, angular, and often dissonant guitar work with The Jesus Lizard, Denison’s playing is instantly recognizable. His style, characterized by sharp, cutting riffs and a unique approach to melody and rhythm, forms the structural backbone of Tomahawk’s music. He eschews traditional rock guitar heroics for a more textural and often unsettling sound, perfectly complementing the band’s experimental inclinations.
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Trevor Dunn: A highly respected bassist in the avant-garde jazz and experimental music scenes, Dunn is a longtime collaborator with Patton in Mr. Bungle and Fantômas. His basslines are often complex, rhythmic, and melodic, providing both a solid foundation and intricate counterpoints to Denison’s guitar and Stanier’s drums. Dunn’s deep understanding of various musical forms allows him to navigate Tomahawk’s genre-bending compositions with fluid precision.
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John Stanier: Renowned for his powerful, precise, and often unconventional drumming, Stanier rose to prominence with the alternative metal band Helmet and later gained widespread recognition for his work with the experimental rock trio Battles. His drumming in Tomahawk is characterized by its driving force, rhythmic complexity, and innovative use of percussion, providing a dynamic and compelling rhythmic engine for the band’s intricate arrangements.
Together, these four musicians form a true "supergroup," not merely by name, but by their collective ability to create music that is simultaneously heavy, melodic, challenging, and deeply engaging. Their shared history and mutual respect for experimental artistry allow them to push creative boundaries while maintaining a cohesive and compelling sonic identity.
The "A Huge Waste Of Your Time And Money Tour" with Melvins
The ongoing US tour is a significant event for fans of experimental and alternative rock, not least because of its pairing with the legendary Melvins. The tour’s self-deprecating title, "A Huge Waste Of Your Time And Money Tour," is a characteristic display of the wry humor and anti-establishment ethos shared by both bands. It playfully acknowledges the often demanding nature of their music while inviting audiences to embrace the experience wholeheartedly.
The connection between Tomahawk and Melvins runs deep. They previously toured together in 2003, establishing a rapport that has endured for over two decades. Both bands are also prominent acts on Ipecac Recordings, the label co-founded by Mike Patton, which has served as a crucial platform for their adventurous musical output. Furthermore, Melvins’ guitarist and vocalist Buzz Osborne is a bandmate of Patton and Dunn in the supergroup Fantômas, cementing a familial bond within this specific ecosystem of experimental musicians.
Melvins, often cited as pioneers of sludge metal and grunge, have maintained an unparalleled career spanning over four decades, continually evolving their sound while retaining their signature heaviness and experimental edge. Their inclusion on the bill ensures a double dose of high-caliber, genre-defying rock music, making the tour a must-see event for aficionados. The joint run is scheduled to continue through mid-August, traversing various cities across the United States and offering audiences a rare opportunity to witness two of the most influential and innovative bands in rock history on the same stage.
Ipecac Recordings: A Sanctuary for the Avant-Garde
The role of Ipecac Recordings cannot be overstated in the narrative of Tomahawk and Melvins. Co-founded by Mike Patton and Greg Werckman in 1999, the independent label has become a haven for artists who defy easy categorization. Ipecac’s mission has always been to release "challenging music" from a diverse array of genres, including experimental rock, metal, electronic, and avant-garde jazz.
By providing a stable and artist-friendly platform, Ipecac has allowed bands like Tomahawk and Melvins to pursue their unique artistic visions without commercial pressures often imposed by larger labels. The label’s commitment to artistic integrity aligns perfectly with the ethos of its artists, fostering an environment where musical experimentation and uncompromising creativity can thrive. This symbiotic relationship between label and artist is a significant factor in the longevity and continued relevance of bands like Tomahawk in a constantly shifting music industry landscape.
The Broader Landscape: Patton’s Multifaceted Future
The current Tomahawk tour, while a significant event in itself, also provides a glimpse into the ongoing, highly active career of Mike Patton. Known for his prodigious output and involvement in numerous projects, Patton’s calendar appears to be as packed as ever. The recent announcement that Faith No More will play their first shows in over a decade in 2027 has sent ripples of excitement through the music world. This impending reunion, following their previous hiatus and reunion cycles, underscores the enduring legacy and demand for one of alternative rock’s most iconic bands.
Patton’s ability to seamlessly transition between the aggressive, intricate world of Tomahawk, the avant-garde chaos of Mr. Bungle, and the stadium-filling anthems of Faith No More speaks volumes about his artistic range and relentless creative drive. His continued activity across these high-profile projects ensures his enduring relevance and impact on contemporary music. For fans, it means a continuous stream of challenging, diverse, and often groundbreaking music from one of the most singular voices in modern rock.
Conclusion: A Renewed Chapter for Experimental Rock
Tomahawk’s return to the live stage in Nashville marks a significant moment, not just for the band but for the broader experimental rock scene. After years of anticipation and pandemic-related delays, the opportunity to witness the band perform, particularly the material from Tonic Immobility live for the first time, is a testament to their resilience and the unwavering dedication of their fanbase. The "A Huge Waste Of Your Time And Money Tour" with Melvins is more than just a series of concerts; it’s a celebration of uncompromising artistry, a reunion of kindred spirits, and a powerful reaffirmation of the enduring power of challenging music. As the tour progresses through mid-August, it promises to deliver an unforgettable experience, solidifying Tomahawk’s place as a vital force in the landscape of contemporary rock music and reminding audiences of the boundless creativity of its legendary members.
Below, watch Tomahawk encore with "God Hates A Coward" after Patton makes his beloved blowjob joke and some more video from the show:
Tomahawk – God Hates a Coward – Nashville, Brooklyn Bowl – July 18, 2026:
Tomahawk – Flashback – Nashville, TN – 7/18/26:
Tomahawk – Mayday – Nashville, TN – 7/18/26:
TOMAHAWK “South Paw” live @ Brooklynn Bowl (07/18/2026):
Here’s the full set:
Tomahawk [LIVE] Brooklyn Bowl Nashville (7/18/2026):
