Concert review: Freaks on Parade feat. Rob Zombie, Marilyn Manson, The Hu, & Orgy | 09.09.26, Hollywood Casino Amphitheater (with photo gallery)

Photo of Rob Zombie by Jen Ruff

Freaks on Parade delivered exactly what its name promised: a loud, theatrical procession of industrial rock, gothic imagery, and heavy-metal spectacle. The four-act bill turned a hot Wednesday night at Hollywood Casino Amphitheater into an event built as much for the eyes as the ears, with each performer bringing a distinct sound and stage presence.

Orgy opened with a compact burst of late-1990s industrial nostalgia. Familiar songs such as “Stitches” and the band’s version of New Order’s “Blue Monday” connected quickly, even if the set felt more like a warm-up than a defining moment, much to my dismay. Having seen them at Mississippi Nights in their heyday, I wanted so much more of them and more from the crowd.

The Hu followed and became the evening’s most distinctive surprise. Their combination of crushing riffs, traditional Mongolian instruments, and throat singing created a sound that was both ancient and immediate. “Yuve Yuve Yu” and “Wolf Totem” landed with particular force, proving that the tour’s most unusual booking was also one of its smartest.

Marilyn Manson shifted the atmosphere toward stark gothic theater, delivering a dark, controlled set anchored by “Sweet Dreams” and “The Beautiful People.” A longtime favorite of mine, it was such a beautiful set. It felt like Antichrist Superstar prime Manson. The drugs and the allegations and the weight, everything that was clinging to him, it felt like he’d shed it all. He was hilarious, addressing the crowd more than WWE superstar Mick Foley ever could’ve. He was performative as always, orchestrating an iconic stage presence like no one else in the music business can match. Finally he was returned to the legacy he’s built for decades. I felt like a very proud fan that someone I’ve idolized had the most incredible set that evening.

Rob Zombie then closed the night like a carnival ringmaster, surrounding his band with giant screens, bursts of pyro, and monster-movie imagery. The production was excessive in the best possible way, but the spectacle never completely overwhelmed the music. “Superbeast,” “More Human Than Human,” “Living Dead Girl,” “Thunder Kiss ’65” and the finale, “Dragula,” gave the crowd a relentless run of recognizable hooks and heavy grooves. My personal favorite moment was the duet of the Beatles “Helter Skelter” where Manson/Zombie teamed up. What a time to be ALIVE!

Freaks on Parade succeeded because it offered more than a sequence of heavy bands. Orgy supplied nostalgia, The Hu expanded the musical palette, Manson brought tension and theatrical restraint, and Zombie delivered the full-scale finale. The long, hot night occasionally tested the audience’s stamina, but the variety and visual ambition kept the show moving. For fans of industrial rock and shock-heavy stagecraft, this was a polished, memorable package that made an ordinary weeknight feel like a main event showdown. | Diane Ruff