Mammoth Burns Bright at The Fillmore Silver Spring
Wolfgang Van Halen led a powerful, emotionally charged night in Maryland along with openers Return to Dust and Myles Kennedy and his band.
(Photos and review by Mike Sprouse / Odd Rocker Photography)
The Fillmore Silver Spring was already humming before Mammoth even stepped onstage. It was a chilly Tuesday night, but inside the venue, it felt electric. Fans packed tight against the barricade, a mix of longtime Wolfgang followers, younger rock fans and seasoned old timers drawn in by the sheer noise of it all.
When the house lights fell on Nov. 11, Wolfgang strode out with his band — Frank Sidoris on guitar, Ronnie Ficarro on bass, Jon Jourdan handling rhythm and backing vocals, and Garrett Whitlock behind the kit and they didn’t waste a second. “One of a Kind” opened the set with that perfect mix of muscle and melody that’s become Mammoth’s signature. It’s an arena-sized song, but it fits The Fillmore’s tighter space like it was made for it.
Then came “Another Celebration at the End of the World,” a shot of pure adrenaline that got the whole room moving. You could see heads nodding, fists pumping, and phones raised but not in a disconnected way, everyone wanted to capture it, but nobody wanted to miss it. Wolfgang looked relaxed and in control, alternating between grins and moments of pure concentration.
“The Spell” and “Epiphany” followed, giving the night its first moody turn. The lighting dropped to deep blues and purples, that kind of cinematic glow that feels almost underwater. The band’s tone was perfect, muscular but melodic and the songs had space to breathe.
By the fifth song, “Same Old Song,” Mammoth had settled into a rhythm that felt effortless. Wolfgang’s vocals were warm, the kind of voice that doesn’t need to prove itself anymore. And as “Like a Pastime” rolled in, that tight, slightly syncopated groove hit hard. It’s one of those songs that doesn’t sound complicated until you really listen to what the rhythm section is doing. Garrett Whitlock’s drumming was surgical, but he played with enough swing to keep it human.
Watch the official lyric video for “Like a Pastime” by Mammoth on YouTube:
“Optimist” and “Stone” landed like a one-two punch with melodic highs followed by something a little darker, more deliberate. The interplay between Wolfgang and Frank Sidoris’s guitars gave the sound a layered edge, like classic hard rock with a modern heartbeat.
Then there was “Happy.” That song lives in a strange space; it’s called Happy, but it’s drenched in melancholy. The crowd response was huge, probably because everyone could feel it. The chorus soared, and you could tell the people were feeling it.
When the first notes of “Mammoth” hit, the crowd erupted. There’s always a sense of pride when an artist reaches that milestone song, the one that defines the project — muscular, confident, and still humble.
“Resolve” and “Distance” were the emotional gut punches of the night. You could sense it from the way Wolfgang stepped back from the mic between verses, almost giving the moment room to breathe. “Distance,” especially, hit deep. You could see the emotion ripple through the room, the quiet faces, a few misty eyes.
Then came “All in Good Time” and “Take a Bow,” where the energy swung back upward. The lighting snapped into sharp color bursts, the band pushing harder, louder, freer.
“I Really Wanna” closed the main set with that combination of joy and exhaustion that makes live rock what it is. The whole band leaned into it, smiles flashing between choruses. You could feel that shared moment between the players, that telepathic connection you only get from hours on the road. Wolfgang’s grin said it all. You can tell he loves this part of the night, when the songs stop being work and turn into a celebration.
The encore arrived fast. The crowd wasn’t going anywhere. When the opening riff of “Don’t Back Down” hit, it was instant combustion. Hands in the air, everyone shouting along, not neatly, not in time, just honest noise.
Then came “The End.” The irony of the title wasn’t lost on anyone. It’s a massive track, heavy and slow-burning, the kind that builds tension and refuses to let it go.
Watch the official music video for “The End” by Mammoth on YouTube:
Seeing Mammoth in a room like The Fillmore Silver Spring makes perfect sense. It’s big enough to feel grand, but small enough that you still see faces with the smiles, the reactions, even the headbanging security guards who probably didn’t plan to have that good a time. Funny how that happens in rock shows: job title doesn’t matter, the music takes you. The sound in the room was crisp, clear, and balanced from floor to balcony. Every instrument sat exactly where it needed to be. Even the in-between moments mattered. Wolfgang’s dry humor between songs kept things grounded and the crowd loved it. It reminded everyone that, despite the polish, Mammoth is still very much a band, not a solo project.
Walking out into the cold Silver Spring night, the air still buzzing with feedback and adrenaline, it was hard not to smile. Mammoth had delivered one of those rare shows that felt tight, alive, and deeply personal all at once.
Call it a Tuesday night miracle or just the mark of a band that’s truly found its voice, either way, The Fillmore got one hell of a show and as far as The End goes, this feels more like a new beginning.
For me, a rock fan, a reviewer and a guy who tries to capture the magic, this was one of those nights where the memory will linger far longer than the length of the show and honestly, that’s why we go.
Setlist:
1. One of a Kind
2. Another Celebration at the End of the World
3. The Spell
4. Epiphany
5. Same Old Song
6. Like a Pastime
7. Optimist
8. Stone
9. Happy
10. Mammoth
11. Resolve
12. Distance
13. All in Good Time
14. Take a Bow
15. I Really Wanna
Encore:
16. Don’t Back Down
17. The End
Here are some photos of Mammoth performing live at The Fillmore Silver Spring on Nov. 11, 2025. All pictures copyright and courtesy of Michael Sprouse/ Odd Rocker Photography.
Return to Dust
There’s something deeply satisfying about an opening act that refuses to play the “warm-up” role. Return to Dust, the young Los Angeles band, kicked off the night with a thick, rumbling wall of sound that caught the early crowd by surprise. Within 30 seconds of “Black Road,” chatter at the bar had stopped, replaced by heads turning and that quiet, collective “who are these guys?”
Watch the official music video for “Black Road” by Return to Dust on YouTube:
Their sound pulled from several corners of the rock spectrum, equal parts grunge grit, stoner groove, and post-alt heaviness. There was something familiar in their DNA (you can trace hints of Alice in Chains or QOTSA), but it didn’t feel recycled.
“Shine” carried this dark melodic undertow, almost hypnotic, with a vocal line that sat low and simmered under waves of distortion. It was brooding, but it moved like it’s building to a fight it knows it’ll win.
By “New Religion,” the crowd was fully on board. The rhythm section locked in tight, the bass hitting that chest-rattling frequency that The Fillmore’s sound system does so well. Guitar tones stayed fuzzy but clear, grit without mud. You could feel that intangible electricity that happens when an opener surprises a crowd.
Then came “Bored,” which felt like the band’s calling card, sluggish, swaggering, and dripping with attitude. The irony of the title wasn’t lost on anyone; it was anything but boring. The drummer played like he had something to prove, all precision and power, while the vocals hung back, half-detached, almost taunting. There’s confidence there, a quiet kind that says, “yeah, we belong here.”
“Belly Up” was heavier, leaning into the low-end crunch and a perfect setup for the closer, “When You Look at Me.”
Return to Dust may have been the youngest band on the bill, but they played like veterans. Their six-song set was tight, confident, and loud in all the right ways and a statement that they’re not content being the opener for long.
Setlist:
1. Black Road
2. Shine
3. New Religion
4. Bored
5. Belly Up
6. When You Look at Me
Myles Kennedy
Then Myles Kennedy walked out, no theatrics, no over-the-top intro, just that cool, unassuming presence that says, yeah, I’ve done this a few times before. He’s one of those artists who doesn’t need to say much and you could feel the excitement ripple through the room like the air before a lightning strike.
When Kennedy opened with “The Art of Letting Go,” his voice with equal parts silk and grit, carried through the Fillmore’s mix like it was designed for that space. It’s hard to describe it without sounding dramatic, but there’s something about his tone that cuts right through you, even if you don’t want to admit it.
Stream “The Art of Letting Go” by Myles Kennedy on YouTube:
Myles always walked that fine line between stadium-ready rock and something way more intimate. Whether it’s Alter Bridge, Slash’s band, or his solo material, Kennedy has this knack for making a big room feel small. That was clear as soon as “Nothing More to Gain” kicked in.
One of the best things about Kennedy’s solo set is how much space he gives the songs to breathe. “Miss You When You’re Gone” felt almost confessional, stripped back but still weighty, while “Behind the Veil” shimmered with a bluesy undercurrent.
It’s funny, Myles doesn’t “perform” in the overdone sense. Every word, every note feels like it’s there because it has to be and there’s no wasted motion. Between songs, he’d smile that easy smile, toss out a thank-you, and move right into the next tune.
When he hit “Mr. Downside,” it was like the whole set took a turn inward. There’s a melancholy in that song, the kind that sneaks up on you halfway through the second verse. It’s this slow burn that builds into something cathartic, but never loses control and Kennedy’s guitar tone here was sharp but warm, like Neil Young with better posture.
And The Fillmore Silver Spring lighting crew deserves credit. They painted the stage with moody lighting that perfectly matched the song’s vibe. Little things like that matter, they let the music set the mood instead of trying to outshine it.
By the time he rolled through “Get Along” and “In Stride,” the band loosened up, the crowd started moving more. “In Stride,” in particular, got people grinning. It’s got that easy swagger, that late-summer-road-trip kind of groove that makes you forget where you’re standing. There’s something fascinating about watching Kennedy play slide guitar—he makes it look effortless, but you know there’s a thousand tiny choices in every bend and slide.
Watch the official music video for “In Stride” by Myles Kennedy on YouTube:
Myles closed with “Say What You Will,” a fitting end to a set that felt equal parts reflection and release. The song hit that perfect middle ground; hopeful, but grounded. No big rock-star finish, no grand farewell. Just a genuine moment between an artist and a room full of people who were fully present.
Myles Kennedy has that rare gift of leaving you satisfied and still wanting more. It wasn’t a loud set, but it resonated and in a rock world that often equates volume with power, Kennedy reminded everyone that sometimes the quietest moments hit the hardest.
By the time the lights came up and the crowd started buzzing again, you could tell everyone was re-calibrating, resetting their expectations before Wolfgang Van Halen and Mammoth took the stage.
Setlist:
1. The Art of Letting Go
2. Nothing More to Gain
3. Miss You When You’re Gone
4. Behind the Veil
5. Mr. Downside
6. Get Along
7. In Stride
8. Say What You Will
Here are some photos of Return to Dust and Myles Kennedy opening Mammoth at The Fillmore Silver Spring on Nov. 11, 2025. All pictures copyright and courtesy of Michael Sprouse/ Odd Rocker Photography.
