Big Head Todd and The Monsters

No upcoming concerts for Big Head Todd and The Monsters

Other Upcoming Shows

Wyclef Jean: The Carnival Tour

Thu Mar 1st - 8:00PM tickets parking
SEAT TYPE: Partly seated
PRICE: $35 - $45

George Lopez: The Wall World Tour

Sat Mar 3rd - 7:00PM tickets parkingSat Mar 3rd - 9:45PM tickets parking
SEAT TYPE: Fully seated
PRICE: $66

“Weird Al” Yankovic

Sun Mar 4th - 3:00PM tickets parkingSun Mar 4th - 8:00PM tickets parking
Openers: Emo Philips
SEAT TYPE: Fully seated
PRICE: $59-$279

Human Nature

Wed Mar 7th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $39-$49

Eric Johnson

Thu Mar 8th - 8:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $35

Demetri Martin: Let’s Get Awkward Tour

Fri Mar 9th - 7:30PM tickets parkingFri Mar 9th - 10:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $39.50

Lisa Lampanelli

Sat Mar 10th - 7:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $59

Five For Fighting with String Quartet

Wed Mar 14th - 8:00PM tickets parking
Openers: Marie Miller
SEAT TYPE: Fully seated
PRICE: $37 - $50

Colin Quinn: One In Every Crowd

Thu Mar 15th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $27-$35

Chefs – A Sizzling Kitchen Showdown

Fri Mar 16th - 7:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $40 - $50

Scotty McCreery

Sun Mar 18th - 8:00PM tickets parking
SEAT TYPE: Partly seated
PRICE: $37

Dixie Dregs

Mon Mar 19th - 8:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $40-$55

The Musical Box: “50th Anniversary Celebration of Genesis”

Wed Mar 21st - 8:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $35-$47

Sebastian Maniscalco: Stay Hungry Tour

Fri Mar 23rd - 7:00PM tickets parkingFri Mar 23rd - 9:45PM tickets parkingSat Mar 24th - 7:00PM tickets parkingSat Mar 24th - 9:45PM tickets parkingSun Mar 25th - 5:00PM tickets parkingSun Mar 25th - 8:00PM tickets parkingFri Mar 30th - 7:00PM tickets parkingFri Mar 30th - 9:45PM tickets parkingSat Mar 31st - 7:00PM tickets parkingSat Mar 31st - 9:45PM tickets parking
SEAT TYPE: Fully seated
PRICE: $69-$275

An Evening with Ray Allen

Wed Mar 28th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $40

This Is Us Star Chrissy Metz 

Thu Mar 29th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $47 - $97

Robin Trower

Mon Apr 2nd - 8:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $40 - $55

Neo Soul presents Song Dongye

Tue Apr 3rd - 8:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $50 - $160

Stuff You Should Know

Wed Apr 4th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $32

Crazy Ex-Girlfriend Live : Starring Rachel Bloom

Thu Apr 5th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $35

Piff The Magic Dragon

Fri Apr 6th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $29

Tiffany Haddish: #SheReady

Sat Apr 7th - 7:00PM tickets parkingSat Apr 7th - 9:45PM tickets parking
SEAT TYPE: Fully seated
PRICE: $47-$105

Ethan Bortnick

Sun Apr 8th - 3:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $27 - $49

David Foster: HITMAN Tour

Wed Apr 11th - 8:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $39 - $85

Buckethead

Thu Apr 12th - 8:00PM tickets parking
SEAT TYPE: Partly seated
PRICE: $27 - $35

Roy Wood Jr.

Fri Apr 13th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $24

Michael Carbonaro

Sat Apr 14th - 6:00PM tickets parkingSat Apr 14th - 9:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $45 - $59

Rodriguez

Sun Apr 15th - 7:00PM tickets parking
Openers: Lily & Madeleine
SEAT TYPE: Fully seated
PRICE: $45-$55

Festival of Praise

Tue Apr 17th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $40 - $65

The Devon Allman Project with special guest Duane Betts

Wed Apr 18th - 8:00PM tickets parking
SEAT TYPE: Partly seated
PRICE: $22

Todrick Hall

Sun Apr 22nd - 7:30PM tickets parking
SEAT TYPE: Partly seated
PRICE: $27 - $236.75

Dweezil Zappa: Choice Cuts!

Wed Apr 25th - 8:00PM tickets parking
SEAT TYPE: Partly seated
PRICE: $30 - $90

Anthony Jeselnik: Funny Games

Thu Apr 26th - 7:30PM tickets parkingThu Apr 26th - 10:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $32

Jo Koy

Fri Apr 27th - 7:30PM tickets parkingFri Apr 27th - 10:00PM tickets parkingSat Apr 28th - 7:00PM tickets parkingSat Apr 28th - 9:45PM tickets parking
SEAT TYPE: Fully seated
PRICE: $37

NEMR

Sat May 5th - 7:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $32-$72

The Bodega Boys Live Ft. Desus Nice & The Kid Mero

Sat May 5th - 9:45PM tickets parking
SEAT TYPE: Fully seated
PRICE: $42 - $101

Dark Star Orchestra

Thu May 10th - 8:00PM tickets parking
SEAT TYPE: Partly seated
PRICE: $32 - $40

Radiotopia

Sun May 13th - 7:00PM tickets parking
PRICE: $35 - $1,000

Randy Rainbow

Thu May 17th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $38

Wayne Brady

Sat May 19th - 7:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $45

Mandy Harvey

Sun May 20th - 7:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $26

Keb’ Mo’

Thu May 24th - 8:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $42 - $55

Nick Swardson

Sun May 27th - 9:45PM tickets parking
SEAT TYPE: Fully seated
PRICE: $49

The Fab Faux

Sat Jun 2nd - 8:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $35 - $95

Kyle Kinane

Wed Jun 6th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $27

Ry Cooder

Thu Jun 7th - 8:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $50 - $65

Bonnie Prince Billy

Sat Jun 9th - 8:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $25 - $35

Deon Cole

Sat Jun 16th - 7:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $25 - $67

Back To The Eighties Show with Jessie’s Girl

Fri Jul 20th - 8:00PM tickets parking
PRICE: $27

The Second City: Made in America

Wed Aug 22nd - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $25

Joey Diaz

Sat Sep 29th - 7:00PM tickets parking
SEAT TYPE: Fully seated
PRICE: $29

Blood, Sweat & Tears – 2018

Sat Dec 15th - 7:30PM tickets parking
SEAT TYPE: Fully seated
PRICE: $39 - $69

Bio

Big Head Todd and the Monsters New World Arisin’photo credit: Jason SiegelBig Head Todd and the Monsters are not that big on anniversaries, so there won’t be any big hoopla over the fact that the band is officially crossing the three-decade mark this year. Thirty years would seem like something to commemorate, especially with the same core lineup, an achievement few other name-brand bands can boast of. Yet right now they’re less about celebrating stability than volatility, in the form of their eleventh studio album, New World Arisin’, which makes good on its forward-facing title with what might be the brashest rock and roll of their career. The old world can’t rest on any laurels, and neither will they.

“We’re in a real exciting part of our career right now,” says co-founder Todd Park Mohr.  “We’re a viable band with a great audience and we’re able to work at a very high level. It’s a career that’s getting more and more interesting, rather than less, which is remarkable,” he says, chuckling at the unlikelihood of anyone being this cheerfully all-in, this far in. “I mean, 30 years into it, I really feel like: Wow, this is getting fun. I’m learning more about music and about my instrument, and it’s just really engaging in every way. We also dovetail well with the times, I think; I feel like we have something to say

.”That desire to communicate and connect is very much reflected in a new album that explores a variety of subgenres, from the funky (“Trip”) to the unexpectedly punky (“Detonator”), with stops along the way for raging country-rock (“Damaged One”), expansive storytelling in the Van Morrison/early Springsteen mode (“Wipeout Turn”), a Jimi Hendrix cover (“Room Full of Mirrors”), and, in the title track, “New World Arisin’,”a Charley Patton-inspired tune that ended up having what Mohr describes as “a heavy metal/gospel feel.”

He doesn’t feel these musical zigzags will give fans musical whiplash. “The fact is, most people, like myself, listen to multiple genres of music, so I don’t think people have a problem with variety. I love it.”

But if there’s a dominant musical motif to New World Arisin’, it’s “straight-up rock-pop,” says Mohr. That contemporary approach might come as a slight surprise to hardcore fans that saw the Monsters take a seriously rootsy turn or two in the last 10 years. The band embarked on a side project, dubbed Big Head Blues Club, that saw them paying homage to Robert Johnson and bringing in venerable guest collaborators like Charlie Musselwhite and the late B.B. King. The heavy blues influence that dominated their alter-ego band carried over some into the last actual Big Head Todd and the Monsters album, 2014’s Black Beehive. That element isn’t altogether missing in New World Arisin’; you’ll certainly hear it recur in “Long Coal Train.” But this time the blues take a definite back seat to the unapologetically mainstream instincts that had Big Head Todd going platinum in the mid-’90s with the album Sister Sweetly, which spawned the rock radio hits “Broken Hearted Savior,”“Bittersweet,”and “Circle.”

“Commercial success is still a goal for me and for our band,” Mohr says, “as far as the sense of communicating to, or striking a chord with a large number of people. We feel like we have something to say and something to offer the culture.” Plus, a true confession: “I’m interested in the pop song! And I think ‘Damaged One,’ for one, is a classic pop song. Our label would have killed for that song, back then,”in the wake of those mainstream radio hits that established the band. “They begged me to write it! So there’s a lot of irony in our coming back to that.

”The history of the group actually stretches farther back from the 1987 point at which they took their name. The core members came together at such an early age that it’s hard to know exactly how many candles to put on their collective cake. “It’s murky,” Mohr says, “because I’ve been playing with Brian (Nevin, their drummer) since junior high school, so the two of us go back to 1982. Brian and I played a talent show with Rob (Squires, the bass player) in 1983, and then we continued to plug at it, at a kids’ pace,”he laughs. They began playing original music in earnest in a nascent Colorado music scene that then consisted almost entirely of cover bands. A debut album,Another Mayberry, arrived in 1989, though it would be another four years before Sister Sweetly made them a national phenomenon. The only personnel change in these three decades has been the addition of a fourth member, putative “new guy”Jeremy Lawton, in 2004.

 

While they enjoy a robust fan base around the country, their success is outsized in Colorado, where they’re practically the unofficial state band. That’s evident in their ability to sell out Red Rocks, the most revered amphitheater in the nation, where they’ve headlined 19 times. It also comes into play when the band gets asked to be a part of commemorative moments: Mohr recently sang the national anthem at a Rockies game, and the entire band took part in the parade through Denver after the Broncos took the Super Bowl.

Their honors extend beyond their home state and even home country… into space. In 2005, they released the single “Blue Sky,” a tribute to the space program, written at the behest of crew members taking to the heavens aboard the space shuttle Discovery; it was performed years later as a live wake-up call to the astronauts on the shuttle. The song had enough appeal back on earth, too, that it was picked up by the Hillary Clinton campaign in 2008 and used to introduce her keynote speech to the Democratic convention.

That campaign usage didn’t come about as a result of any desire on Mohr’s part to take the band in a political direction. He’s not so interested in getting Big Head Todd and the Monsters caught up in that particular fray as looking at the smaller and bigger pictures, wanting to keep the material topical in some far deeper fashion. “Our audience is America, and I’m guessing it breaks down to the same percentages the country itself has,” he says. “We’ve never gotten in the business of polarizing people politically. But at the same time, as artists, it’s our job to observe and to hopefully find some insight. I’ve always been interested in the human condition more than politics. Politics are a part of it, but I always look at conflict as personal before it’s political. And I would consider conflict my dominant lyrical theme now— how people are trapped in it,

and how conflict relates to intimacy and pleasure.” A Big Head Todd show, in any case, is a place where those conflicts might resolve, or dissolve. “In talking about our apolitical-ness, I think unity is an important thing,” Mohr says. “Being a human being, you have a lot in common with other human beings, and why not maximize those things? Music has an incredible capacity to convey other cultures and times, and to create a lot of empathy and togetherness. There’s harmony in it, and it implies oneness — the root.

”There’s an economy to the songs on the new album, most of which clock in around four minutes, and sometimes even closer to three. You’d think this would make Big Head Todd and the Monsters the farthest thing from a jam band. Yet they have a fervent following among that subset of rock fans, lack of noodling notwithstanding. Maybe it’s because of the changing nature of their set lists, since the Monsters are known to take requests, both in person and online. 

“Our focus has always been on serving the song,” Mohr says. “We haven’t historically been that jammy. Which isn’t to say that we don’t have an occasional six-minute number — we do. But having said that, I have a great respect for that audience, which I think is just a music-loving audience. You know, one year I got invited to the Jammies at Carnegie Hall, and I got in a discussion with somebody: ‘Well, how do you define a jam band?’ And he told me, ‘A jam band doesn’t repeat a song for three shows in a row.’ That was the only way that he would define it. I could almost follow that rule, except there are probably four songs I have to play every night. So I guess those four songs are what’s keeping us from ever being a jam band,” he laughs.

What’s clear is that Big Head Todd is one multi-headed rock monster, easily traversing the most accessible hooks and the heaviest grooves. It’s not surprising that they would appeal to any audience or sub-audience that values durability over flavors of the moment. But Mohr has to laugh when he thinks about how little the possibility of long-term perseverance was on the members’ minds 30 years ago. 

“When you form, I think your goal is to make it through the party on Saturday night,” he points out. “In art, longevity isn’t the goal. It’s a happy accident if it happens, and I think ours was one of those convenient accidents that led to a happy marriage. But we happen to get along really well and love being with each other and playing music for a living.” Simple as it may sound, that’s a profound recipe for endurance in both the old world and the new

246 Tremont St, Boston | (617) 248-9700
Copyright © 2018 The Wilbur | Privacy Policy | Site by BWG