There are a few live acts that blur the lines between performance art, theatrical spectacle, and outright chaos quite like GWAR. The other night at First Avenue in Minneapolis was no exception. Being the band’s 17th show of forty-five, the Gor Gor Strikes Back tour proved once again that attending a GWAR show isn’t just about music — it’s about absolutely surrendering to an experience that was both gleefully grotesque and welcoming.
The night began well before the doors opened. Outside the venue, a line of devoted fans stretched down the block, buzzing with anticipation. Among them were several self-proclaimed veterans of both GWAR and Soulfly shows, each battle-hardened concertgoers who came prepared in white shirts, worn not as fashion statements but as blank canvases for the carnage to come. Their enthusiasm adorned as infectious, a reminder that for many, a GWAR show is a ritual as much as it is entertainment.
That sense of unpredictability extended beyond the stage. While waiting in line, I unexpectedly crossed paths with Matthew Young, whom I had no idea was the lead vocalist of King Parrot, in a casual, unassuming moment that contrasted sharply with the intensity typically associated with his onstage persona. He was outside of the venue, FaceTiming with someone close to him, and had politely shook my hand as he went around briefly to scope out the area. As if that weren’t surreal enough, the pre-show atmosphere took another turn when a character known only as Rexor Terrorsaur, dressed as a bizarre alien figure in strange military attire, began weaving through the crowd with a cameraman and mic in his claws, interviewing attendees about their expectations for the night. It was both absurd and fitting, and felt like an unofficial extension of the world GWAR themselves inhabit.
As I went inside, the energy only escalated. King Parrot opened the evening by wasting no time setting the tone. They delivered a blistering set that matched the crowd’s anticipation beat for beat. Songs like “Target Pig Elite” and “Hell Comes Your Way” were iconic of the power this grindcore band from the wild Down Under had to show, An especially iconic moment came when Matthew Young hurled water out toward the audience mid-set, sending a spray across the front rows and igniting an already feverish crowd into an even greater frenzy.
Soulfly followed soon with a performance that felt both crushing and deeply rhythmic, anchored by the commanding presence of Max Cavalera. Being in his mid-fifties, this wild Brazilian’s energy was relentless — stalking the stage, driving each song forward with a palpable intensity that kept the crowd locked in from start to finish. It was a set that didn’t just warm up the audience—it primed them for the chaos to come.
Now, as GWAR took the stage, any semblance of restraint had instantly evaporated. Their performance was a ruthless assault of sound, satire, and spectacle, anchored by crushing riffs and theatrical storytelling that veered between grotesque humor and pointed absurdity. What stuck out as just equally weird was seeing some of the audience members in different costumes including Waldo, Art the Clown from Terrifier, an old timey press reporter, a guy dressed up as a Christmas-themed Alex Terrible from Slaughter to Prevail and a random astronaut.
True to form, the band didn’t confine themselves to the stage. In one of the night’s most memorable moments, the band’s guitarist, Grodius Maximus, descended from the platform, moving throughout the barricade to engage directly with the audience. It was an electrifying breach of the invisible barrier between performer and fan, amplifying the sense of immersion that defines a GWAR show. Up close, the interaction felt less like a concert and more like being pulled into the band’s chaotic universe.
Of course, it would not be a GWAR performance without its signature deluge of fake blood and fluids, and Gor Gor Strikes Back delivered in excess. The pristine white shirts in the crowd quickly became badges of honor, soaked and saturated in vivid hues – a real beacon to the shared experience unfolding in real time. GWAR closed their set at First Avenue with a completely unhinged surprise cover of “Pink Pony Club“, a cover by Chapelle Roan, turning a sparkly pop anthem into a blood-soaked, alien rodeo of chaos; it was loud, ridiculous, weirdly catchy, and had the whole crowd laughing while getting absolutely drenched. It was exactly what you’d hope for from GWAR doing anything, ever.
Photographing the night was both a challenge and a privilege. The constant motion, unpredictable stage antics, and ever-present spray demanded instinct and adaptability, but it also offered moments of striking visual intensity that few other live acts can replicate. Every frame captured felt like a fragment of something larger—an event that resists being neatly contained or fully explained. At First Avenue, Gor Gor Strikes Back wasn’t just a show — it was an unforgettable descent into chaos, shared by all who dared to step inside.
King Parrot‘s Setlist:
Bozo
Disgrace Yourself
It’s a Rort
Target Pig Elite
Psychotherapy & Valium
Shit on the Liver
Hell Comes Your Way
Home Is Where The Gutter Is
Fuck You & the Horse You Rode In On
You can find more about King Parrot through their social media at:
WEBSITE
FACEBOOK
INSTAGRAM
BANDCAMP
YOUTUBE
SPOTIFY
You can find more about Soulfly through their social media at:
WEBSITE
FACEBOOK
INSTAGRAM
YOUTUBE
SPOTIFY
GWAR‘s Setlist:
Fuck This Place
Crack in the Egg
Eighth Lock
Have You Seen Me?
Tormentor
Hate Love Songs
Lot Lizard
Saddam a Go-Go
I’m in Löve (With a Deåd Dog)
Metal Metal Land
El Presidente
Tyrant King
Hail, Genocide!
Gor-Gor
ENCORE:
Mother Fucking Liar
Pink Pony Club (Chapelle Roan cover)
Sick of You
You can find more about GWAR through their social media at:
WEBSITE
FACEBOOK
INSTAGRAM
BANDCAMP
YOUTUBE
SPOTIFY