The House of Blues in Houston on a February night in 2017 was buzzing with anticipation. Fans of Big Head Todd and the Monsters gathered early, filling the floor and balcony with the kind of casual energy that only a band with decades of history can inspire. There was a warmth to the venue that felt both intimate and electric, perfect for a band whose strength lies in tight grooves, heartfelt lyrics, and an uncanny ability to connect with a crowd through sheer musicianship. As soon as the lights dimmed and the opening notes rang out, it was clear this wasn’t going to be just another show—it was a full-on celebration of rock, blues, and everything in between.
The set kicked off with “Damaged One,” a deep cut that immediately set the tone. The guitar tones were rich and earthy, Todd Park Mohr’s vocals carried that familiar raw edge, and the band’s rhythm section—Rob Squires on bass and Brian Nevin on drums—locked in perfectly, giving the song a driving pulse that made everyone lean in. From the first chord, the crowd was hooked, and the energy in the room began to build, layer by layer.
From there, they smoothly transitioned into “Midnight Radio,” a song that showcases the band’s knack for blending rock with melodic introspection. The groove was steady, the harmonics in the guitar solos rang clear, and it gave the crowd a moment to really settle in and appreciate the tight chemistry between the trio. What’s always impressive about Big Head Todd and the Monsters is how effortless they make technically complex passages feel natural and fluid, and this track was a prime example of that mastery.
One of the night’s earliest surprises was “Kissing My Love,” a Bill Withers cover. Right from the first note, it was clear the band wasn’t just paying homage—they were reinventing it in their own style. Mohr’s vocals were soulful and heartfelt, and the interplay between guitar and organ created a warm, almost celebratory atmosphere. The audience responded with a mix of cheers and knowing smiles, clearly enjoying the nod to a classic while soaking in the Monsters’ signature sound.
Next came “Soul for Every Cowboy,” a crowd favorite and one of the band’s more anthemic numbers. The song kicked off with a recognizable guitar riff that immediately drew everyone into the groove. Fans were clapping, singing along, and swaying in time with the rhythm. This is the kind of song that demonstrates why Big Head Todd and the Monsters have such longevity—the melodies stick, the hooks are infectious, and the band’s energy is magnetic.
“Everything About You” followed, bringing a slightly more upbeat vibe to the floor. The band’s chemistry was palpable, with each member feeding off the others’ energy. Todd’s guitar solo was precise yet expressive, filling the room with emotion without ever feeling forced. The crowd sang along almost instinctively, a testament to the song’s timeless appeal.
The band didn’t let the momentum slow as they moved into “It’s Alright” and “Long Coal Train.” Both songs showcased a blend of blues-rock grooves and lyrical storytelling, with Mohr’s vocals carrying a warmth that made even the heavier tracks feel approachable. The audience, a mix of long-time fans and newer listeners, was fully engaged, dancing, nodding, and cheering with each transition.
“Turn the Light Out” offered a more introspective moment. The song’s mid-tempo pacing and melodic lines allowed the audience to catch their breath, but it also gave the band space to explore subtle improvisation. The interplay between the guitar and bass here was particularly noticeable, with Squires adding melodic flourishes that danced around Mohr’s lead lines, creating a layered, textured sound that filled the venue completely.
“Angela Dangerlove” and “For All Time” followed, demonstrating the Monsters’ ability to move seamlessly between upbeat grooves and heartfelt ballads. Both songs were met with enthusiastic responses, the crowd singing along during the choruses and responding to the energy shifts like they were part of the performance itself.
By the time they launched into “Beautiful World” and “New World Arisin’,” the atmosphere was electric. The songs’ infectious rhythms and hooks had the audience fully engaged, some jumping, some swaying, all united by the music. Each track was played with an effortless blend of precision and spontaneity, showcasing why the band has remained a live favorite for decades.
The band then dug into “Bittersweet” and “Wipeout Turn,” two songs that allowed for extended instrumental sections. These moments were where Todd Park Mohr’s guitar work truly shone—fluid, expressive, and always perfectly in sync with the rhythm section. Nevin’s drumming was crisp and powerful, Squires’ bass lines were melodic yet grounded, and the overall sound was tight yet dynamic.
Before closing the main set, the Monsters performed “Boom Boom,” a John Lee Hooker cover that brought blues to the forefront. The gritty, raw guitar tones combined with Mohr’s emotive vocals transformed the song into a raucous, foot-stomping highlight. They finished the set with “Broken Hearted Savior,” a fan favorite that perfectly encapsulated the band’s knack for balancing rock energy with lyrical depth.
After a short break, the crowd erupted as the band returned for the encore. They opened with “Circle,” a high-energy number that immediately re-energized the room. Then came two iconic covers: “I Want You (She’s So Heavy)” by The Beatles and “I Wanna Be Sedated” by The Ramones. Both were crowd-pleasers, with Mohr and the band putting their own stamp on these classics while keeping the familiar hooks intact. The audience sang along, clapped, and cheered, creating a communal sense of joy and celebration.
Here’s the full setlist from the night:
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Damaged One
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Midnight Radio
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Kissing My Love (Bill Withers cover)
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Soul for Every Cowboy
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Everything About You
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It’s Alright
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Long Coal Train
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Turn the Light Out
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Angela Dangerlove
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For All Time
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Beautiful World
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New World Arisin’
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Bittersweet
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Wipeout Turn
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Boom Boom (John Lee Hooker cover)
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Broken Hearted Savior
Encore:
17. Circle
18. I Want You (She’s So Heavy) (The Beatles cover)
19. I Wanna Be Sedated (Ramones cover)
Overall, Big Head Todd and the Monsters at the House of Blues delivered a performance that felt like a perfectly balanced mix of nostalgia and virtuosity. Each member of the band shone individually, but the true magic was in the way they communicated and played as a unit. The setlist was a thoughtful journey, weaving through hits, deep cuts, and well-chosen covers that kept the energy high and the audience engaged from start to finish.
The House of Blues may not have the scale of an arena, but that intimacy worked in the band’s favor. You could see the smiles exchanged between band members, feel their energy radiating out to the crowd, and sense that everyone in the room was sharing a unique, unrepeatable experience. By the time the last chord of “I Wanna Be Sedated” rang out, the audience was euphoric, cheering for more even though the night had officially concluded.
This was a show that highlighted everything that makes Big Head Todd and the Monsters a beloved live act: tight musicianship, charismatic performance, and a setlist that balances fan favorites with fresh energy. The band reminded everyone why they’ve remained relevant for decades—not just as recording artists, but as a live act capable of holding an audience rapt from the first note to the final encore. It was a night of music that felt both timeless and immediate, and for those lucky enough to be there, it was an experience that won’t soon be forgotten.
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