Bush Brings The Land of Milk and Honey Tour to Boston

Spring is starting to show glimmers in the city of Boston. The massive ice and snowbanks are finally gone, and the bitter cold wind no longer whips down Jersey Street. After months of gray skies and long New England nights, the city feels like it is finally shaking off the sound of winter. The Sox are back, tour buses line the streets, and fans of every genre spill onto the sidewalks outside the music halls. It’s the best kind of medicine after a long and dreary season.

That energy carried straight into MGM Music Hall at Fenway, where fans of all ages packed in for a night with Bush on The Land of Milk and Honey Tour, a night sure to tap into the nostalgia of the ’90s while merging it with the vibrancy of the 2020s.

First up was James and the Cold Gun. Hailing from Cardiff, Wales, the band has spent the majority of 2026 in the States supporting Mammoth, and they proved to be the perfect fit to kick off a night built on pure rock and roll energy. Their sound blends ’90s grunge with a post-punk garage rock edge, think Queens of the Stone Age with a little Mudhoney thrown into the mix. From the moment they hit the stage, they brought the fire and energy needed to get the crowd up and moving.

The setlist leaned heavily on the sophomore release, Face in the Mirror, showcasing tracks like “Above the Lake,” “Guessing Games,” “Cut the Breaks,” and “Fragile,” which the band dedicated to Bush.

Next up was Mammoth. While James and the Cold Gun laid the groundwork for the grunge edge of the night, Mammoth brought the full force of rock and roll and electrifying guitars.

The speakers in the venue kicked in with “Night Prowler” by AC/DC, a signature opening song that every Mammoth fan knows means it’s almost go time. As the song finished, the band took the stage and immediately launched into “One of a Kind” off their 2025 album The End. The song builds intensity with the echoing ring of guitars and the steady build of drums before launching into crunchy riffs and a catchy chorus, sure to get the fans amped.

Mammoth fully leans into the spirit of being “One of a Kind.” At the heartbeat of the band is none other than Wolfgang Van Halen, son of the late Eddie Van Halen. While the name naturally carries the weight of comparison, it stops at little nods to his father. Mammoth is one hundred and fifty percent Wolfgang’s vision. The sound he has created is entirely his own, and the talent behind it is mesmerizing to hear and watch live.

On the albums, the vocals, guitar, bass, and drums are all Wolfgang—a tradition that began with the 2021 self-titled debut Mammoth WVH. Equally impressive is the magic that happens when the touring members come together to create the live experience. With the talents of Frank Sidoris on guitar, Jon Jourdan on guitar, Ronnie Ficarro on bass, and Garrett Whitlock on drums, a sound that already feels massive on record becomes fully amplified on stage. The connection is present not only with the fans, but with each other, every night they take the stage.

The eight-song setlist pulled from all three albums, taking fans on a roller coaster ride of soaring guitar riffs before arriving at “Distance” off the self-titled debut Mammoth WVH. If you have been lucky enough to catch Mammoth on a recent headlining run, or have seen the music video for the song, you know why this is the moment when everything slows down. Images of a young Wolf with his dad flash across the screen, and the song pulls at the heartstrings of anyone who has ever lost a parent or loved one.

On this particular night, the lights inside MGM Music Hall at Fenway dimmed to reveal Wolf alone on stage with his guitar under a single spotlight. He asked the crowd to turn on their phone flashlights and light up the room. It was a beautiful moment to witness. As the song near edits end, the rest of the band returned to the stage to join him and bring the moment to its emotional close.

The set ended with “The End,” the title track off the brand-new album The End. A high-energy song, and a must-see music video if you haven’t watched it yet, it’s packed with guitar solos, cameos, and werewolves. Mammoth left the crowd buzzing, cups filled with a supercharged dose of grunge and rock, ready for the main act to begin.

Bush has been around since the early ’90s, first hitting the scene in 1994 when their debut album Sixteen Stone hit the airwaves. That means it has been more than 30 years since Bush broke onto the music scene. They have more albums now than they did in the ’90s, and while the lineup has changed over the years, the energy, and what makes Bush, Bush—is every bit as charged now as it was back then.

The show kicked off with the familiar opening notes of “Machinehead” off the 1994 album Sixteen Stone, taking the energy built by James and the Cold Gun and Mammoth WVH and kicking the intensity up even more. For longtime fans from the early days and newer listeners alike, there are few Bush songs more recognizable or better suited to open a set with this kind of force than “Machinehead.”

Gavin Rossdale moved from left to right across the stage, making eye contact with fans and pulling them even further into the moment. The set leaned heavily on Sixteen Stone and 2025’s newest album, I Beat Loneliness, with songs from across the decades sprinkled throughout. What made the set so compelling was the beautiful balance between the oldest and newest material, showcasing the raw, grunge-driven edge of the debut album while pairing it with the same rock energy found in the newest record, now carried with the fullness and confidence that comes from years of experience.

Bush has been changing up the setlist every night, which is another refreshing thing to see. It’s not scripted down to the last speech to the crowd; it’s been curated to truly celebrate the music that has been woven into fans’ lives. For the Boston show, “60 Ways to Forget People” and“ Love Me Till the Pain Fades” both saw tour debuts. It’s still early in the tour, but to see songs getting switched around and cycled is refreshing.

“Swallowed” off 1996’sRazorblade Suitcase showcased Rossdale alone onstage. Simple, just him singing with fans joining to match his volume. It wasn’t until the very last 30 seconds of the song that the band joined back in. Powerful to hear Rossdale commanding the room with just his voice. No guitars or drums, just him, some glimmering lights, and thousands of voices singing along. It was a beautiful moment.

A new standout moment of the night came during “Flowers on a Grave” from Bush’s 2020 album The Kingdom. There are moments at a show that truly take you back to memories from your own life, and this was one of them.

My very first concert was in 1997 at the Bell Centre—then the Molson Centre—in Montreal, Canada. I was 14 years old, standing there with my best friend from first grade, right in the middle of the Bush era as they toured behind Razorblade Suitcase. I still remember walking into that massive arena and catching my breath. Much like this night, that show was opened by The Jesus Lizard, bringing a raw, abrasive edge that perfectly set the tone for Bush. Nearly three decades later, there was something beautifully full circle about James and the Cold Gun opening this show, carrying that same gritty, riff-driven energy and feeling like a modern echo of those earlier days.

But what truly brought me back came during “Flowers on a Grave.” Gavin Rossdale jumped down into the crowd and began zigzagging his way across the floor, hugging fans, singing with them, and high-fiving everyone within reach. And it didn’t stop when he reached the back of the floor. He made his way up to the next level and continued moving through the crowd, taking in every single fan he crossed paths with.

The look on the fans’ faces as he made his way toward them instantly transported me back to watching him leap off the stage at that massive arena all those years ago and do the very same thing. The thrill and rush of emotion came flooding back, and there I stood, nearly 30 years later, feeling exactly as I did then.

To still care that deeply about your fans all these years later is something truly special. To go beyond the floor and make sure to connect with those who may not have been able to get floor tickets shows genuine care and gratitude for the people who have loved and supported the band for decades.

With the room fully consumed by that energy, the band leaned completely into the Sixteen Stone era to close out the night. They tore through “Little Things,” “Everything Zen,” and a beautiful full-room singalong of “Glycerine” before closing the night with “Comedown.”

It was a magical night celebrating a band that has been deeply ingrained in the soundtrack of so many lives for more than three decades. For long time fans, it was a chance to relive the songs that shaped an era. For newer listeners, it was a reminder of why Bush continues to resonate all these years later. And for some of us, it was a full-circle reminder that the feeling we had all those years ago is still very much alive.