On a beautiful summer Saturday—the day after the July 4th holiday—the faithful gathered at Vina Robles Amphitheatre for another mind‑bending performance by Primus. Before the much‑anticipated return of Les Claypool and his cohorts, a surprising opening set awaited.
Opening for the legendary Primus in front of their most ardent fans is no easy task, yet Ty Segall and his band rose to the challenge. Their dynamic sound set the stage ablaze. From the moment they arrived, the group delivered a fierce, electrifying performance that set the tone for an unforgettable night.
Their setlist was a whirlwind of raw energy and garage‑punk grit. They kicked off with the gritty riffs of “Waxman,” which immediately got the crowd moving. Next came the moody, intense “Void,” showcasing their knack for blending visceral soundscapes with tight musicianship. The band then launched into “Possession,” a track that fused chaotic noise with melodic hooks and left the audience captivated.
Mid‑set, they played “Another California Song,” adding a touch of surf‑rock to their signature rawness—an authentic nod from Segall, a longtime Southern California surfer. The intensity ramped up with “Manipulator,” a high‑octane number that had everyone on their feet, head‑banging and moshing in unison. They closed with the haunting “Wave Goodbye,” leaving a lasting impression. Segall and his band evoke the best of the grunge era—think Nirvana and Soundgarden—while adding a modern twist. It may be just the right moment for Ty Segall to explode into wider pop‑culture consciousness.
Throughout the performance, the Ty Segall Band lived up to their reputation as one of the most energetic and inventive acts in contemporary rock, balancing chaos with precision. Their opening set proved the perfect appetizer for Primus’s renowned experimental metal and left fans eager for what was to follow.
As stars filled the clear night sky, Primus took the stage at Vina Robles Amphitheatre for a performance as wild and inventive as their storied career. From the first note of “Those Damned Blue‑Collar Tweekers,” it was clear the band was in top form, igniting the crowd with funk, metal, and eccentricity. Early on, bassist Les Claypool introduced longtime guitarist Larry LaLonde and the band’s new drummer, John Hoffman, before giving a shout‑out to Maynard Keenan: “Maynard is with Tool at Black Sabbath’s final performance tonight. We wish we could join him, but we’re glad you’re here with us instead,” Claypool exclaimed.
The setlist was a carefully curated journey through Primus’s catalog. “Last Salmon Man” and “Little Lord Fentanyl” followed the opener, highlighting Claypool’s bass mastery and off‑kilter storytelling. “Duchess and the Proverbial Mind Spread” wove complex rhythms with dark humor, setting an intense yet playful tone.
Midway through the night, “Harold of the Rocks” and “Restin’ Bones” showcased the trio’s heavy riffs and intricate arrangements. “Bob’s Party Time Lounge” added a quirky, theatrical vibe, while “American Life”—not on the official setlist—surfaced spontaneously, inviting a jubilant crowd sing‑along.
The energy spiked with “Over the Falls” and “Lee Van Cleef,” both filled with dynamic solos and airtight musicianship. “Welcome to This World” kept the momentum high before the crowd favorite “My Name Is Mud” had everyone grooving in unison. Primus closed the main set with “Jerry Was a Race Car Driver,” leaving fans exhilarated.
For the encore, Primus delivered a jaw‑dropping rendition of “Tommy the Cat” that perfectly distilled their quirky, virtuosic style. As Claypool’s vocals and bass lines reverberated through the amphitheater, the night reached its ecstatic peak.
Primus’s performance at Vina Robles reaffirmed their enduring creativity and power to captivate. Amid memorable riffs, sly humor, and virtuosic flair, the band once again proved why they remain one of rock’s most singular live acts—especially in such a magical, mountain‑fringed venue.
