Live review: Big Head Todd and the Monsters – Live in Grand Rapids

Intersection – 22 Jan 2023

Big Head Todd and the Monsters bring an entertaining blend of blues, soul and punk, along with a handful of legitimate ’90s alt-rock hits.

It always comes back to the Ramones, but you’ll have to wait a bit for that payoff. While calling Big Head Todd and the Monsters “punk adjacent” is certainly a bit of a stretch, I still think there’s a worthwhile story here to tell.

At home I listen to mostly aggressive music, but I do have a soft spot for plenty of bands outside of my classic punk and thrash wheelhouse. One of those bands is Big Head Todd and the Monsters. I first saw them at the H.O.R.D.E. (Horizons Of Rock Developing Everywhere) Tour in 1994. I remember the show fondly, although I can’t really imagine what possessed us to go in the first place. In retrospect, we were lucky to see a headline set by southern rock/jam band legends The Allman Brothers Band. Other acts that I remember included local sensations The Verve Pipe and tour host Blues Traveler.

I can still remember Big Head Todd and the Monsters nonchalantly taking that giant outdoor stage. They were the three most unassuming dudes you could imagine. They then proceeded to slay us with an amazing set of bluesy alt-rock. Since then, the same friend and I have seen the band a few more times at the Intersection in downtown Grand Rapids. I was fine with skipping them this time around, but my friend really wanted to go and there are not many shows in January, so I somehow managed to drag myself out into the cold Michigan night. 

There was no opening act, and Todd Park Mohr and his Monsters came out about ten minutes after the official 8 PM start time. Mohr still looks awfully casual, although his T-shirt and backwards Colorado Rockies hat have been upgraded to a button up shirt and a fedora. The crowd was slightly upgraded from my normal peers too, I guess. Most were around my age, late 40s and early 50s, but they actually dressed like adults. (I may be middle aged, but they can’t make me embrace it.) I didn’t see a single mohawk or notice any body odor. 

The trio turned quartet opened with “Turn the Light Out”. Minor hit “Resignation Superman” came early in the set and got the crowd fired up. Fan favorite “It’s Alright” incorporated a bit of the Marvin Gaye soul classic “Let’s Get It On”. Led Zeppelin’s melancholy “Tangerine” has remained a fixture in their live set for years. The addition of a multi-instrumentalist has really lent a new dimension to their sound, as Mohr’s excellent lead guitar can interplay with the organ or slide guitar. The musicianship was top notch throughout the long, one hour and 45 minute set.

Mohr mentioned that he spent a lot of time watching movies during Covid, and had new songs inspired by American Graffiti and King Kong. BHTM also dug deep into the blues. This was epitomized by the scathing “New World Arisin’” and their cover of John Lee Hooker’s familiar “Boom Boom”. Of course there was the trio of hits from their platinum 1993 album Sister Sweetly. The tender “Broken Hearted Savior” and “Bittersweet” came toward the end of the regular set. It’s still strange to hear that deep booming voice come from that thin Korean man. 

The encore alone was worth the price of admission. First came “Brandy (You’re a Fine Girl)”, the 1972 Looking Glass hit that’s enjoying new life with the younger generation thanks to the Guardians of the Galaxy film franchise. Then came “Circle”, the other big hit from Sister Sweetly. They wrapped things up with a spirited version of “I Wanna Be Sedated. (I told you it always comes back to the Ramones.) They looked like they were having as much fun playing it as we were hearing it. The bottom line? I’m glad I ventured out to experience a few rare minutes of joy during the midwest winter.