Rob Zombie / Marilyn Manson at Morton Amphitheater, Riverside (Kansas City) MO (2026-09-10)

F.T.W. 84
Tarantula
Superbeast
The Triumph of King Freak (A Crypt of Preservation and Superstition)
More Human Than Human (White Zombie song)
Scum of the Earth
Well, Everybody’s Fucking in a U.F.O.
Living Dead Girl
Heathen Days
Feel So Numb
House of 1000 Corpses
Never Gonna Stop (The Red, Red Kroovy)
Thunder Kiss ’65 (White Zombie song)

Encore:
Dragula

Exit Wound
Disposable Teens
Angel With the Scabbed Wings
Great Big White World
This Is the New Shit
Front Toward Enemy
The Nobodies
Tourniquet
The Dope Show (“Diary of a Dope Fiend / “I Don’t Like The Drugs (But The Drugs Like Me)” intro)
Sweet Dreams (Are Made of This) (Eurythmics cover)
mOBSCENE
The Beautiful People

THE HU SETLIST

Lost Soul
Horsemen
Grey Hun
The Real You
Sad But True (Metallica cover)
Yuve Yuve Yu
Wolf Totem
This Is Mongol

ORGY SETLIST

Suckerface
Dangerous Lyfe
Nails
Slept So Long (Jonathan Davis cover)
Dissention > Smack My Bitch Up (The Prodigy cover)
Lost in the Fray
Stitches
Blue Monday(New Order cover) >
You Spin Me Round (Like a Record) (Dead or Alive cover) >
Blue Monday reprise

The ‘twins of evil’ continue their “Freaks on Parade”!

Arguably two of the most horror-based and bombastic acts in shock rock history, Rob Zombie and Marilyn Manson have again joined forces on a marathon four-act summer “Freaks on Parade” tour, that recently made a KC-area stop, at the still-shiny-new Morton Amphitheater in nearby Riverside.

The tour lineup is rounded out by Mongolian metallers The Hu and LA-based industrial rockers, Orgy, for a full night of rock mayhem and madness.

The package is winding down their 21-date summer outing and it’s a culmination of when it first began (the pair teamed up in 2012 for their Twins of Evil Tour) with return engagements in 2018 and 2019. We last saw Zombie with Alice Cooper, in the rain, at Sandstone for the 2023 installment of the Freaks on Parade Tour, which brings us to 2026 and this fully realized chapter at ‘The Salt Shaker’.

Both headliners have new music to support, so this is more than a hits or nostalgia tour- Zombie‘s The Great Satan, dropped in late February while Manson released One Assassination Under God – Chapter 1 (with a sequel album forthcoming), all via Nuclear Blast Records.

Rob Zombie’s headlining set defined the excess, spectacle, and perverse absurdity of it all; purposely meant to entertain, surprise, and rock the audience with a no-holds-barred stage show.

You want confetti cannons, pyro, smoke plumes, strobe lights, overwhelming graphics, inflatable demons, and giant balloons in the crowd? – There was all of that, and more.

This was an immersive and larger-than-life carnival, with Zombie at its center, on a stage often painted in flat primary green, red, and electric blue lighting that immortalized each band member in time for a second, before the strobe flashed again. Zombie was rarely standing still, his face hidden behind a flailing jungle of hair, a well-grown beard, and layered outfit.

Always the daring showman, Zombie opened with two from the new record, “F.T.W. 84” and “Tarantula”, both of which fit comfortably in his deep oeuvre of four decades of songs, before dialing it all the way back to his 1998 solo debut album with “Superbeast.”

The two White Zombie songs included, beginning with “More Human Than Human” received an increased reception from the crowd as 50’s B-movie horror images flashed across the screens. “Living Dead Girl” swelled the on-again/off-again pit that developed in front GA area as mid-century styled vixens danced and shimmed on-screen.

“House of 1000 Corpses” was played with clips of his 2003 movie of the same name being shown, and the other White Zombie hit, “Thunder Kiss ’65” brought images of classic muscle cars, to accompany the muscle rock being played by Mike Riggs– guitars; Blasko (Rob Nicholson)- bass; and new drummer, Ryan Goff, replacing the longtime Ginger Fish, who had to step away from the tour for personal reasons.

The set, and the evening would end on the chugging, “Dragula”; one last chance for voices raised, fists in the air, and watching this metal ringmaster end the extravaganza with one last blunt, surreal finish to a fun, long musical ride.

Marilyn Manson’ s middle evening set pretty much proved that he’s back in ‘fighting shape’ and any previous culture canceling attempt, seems well in the rearview, so he’s back with a vengeance. There’s little need at this point for him to provoke, as he’s been around long enough to think you know what to expect. Instead, he more inhabits the rage and the darkness than previous, and subtlety invites you inside with him.

Manson’s dark stage looks completely minimalist when compared to the excess of Zombie’s, yet he was able to conjure similar depths of emotional reactions- his rotted apples to Zombie’s disfigured oranges, or somesuch. The times Manson was a bit more of a showman, the result was impressive, especially when bringing back his giant growing skirt during “Great Big White World” where he elevated some 30-40ft in the air as his black, flowing train grew even larger and longer for every foot higher.

Before “The Nobodies.” he unleashed a verbal attack on all of those that were against and trying to cancel him, only gaining strength from his resilience and resistance to not go away quietly, he said. Prefacing “The Dope Show”, he revealed he didn’t like the drugs, he actually loved them (sure, it made for good stage theater, but there’s a good amount of truth to that as well).

His Eurythmics cover remains as haunting and dark as ever, the “mOBSCENE” stage flashed with a neon sign fit for a grotesque burlesque, and his breakout hit, “The Beautiful People” still resonates like a dark slap across the face. Manson is back in all his glory and doesn’t care if you care or not.​​​

For many, Mongolian folk metal band The Hu was the one act on the bill that those were most curious about and were anticipated to see live. The group formed a decade ago and incorporates traditional instruments that are native to their culture including the morin khuur, and the tovshuur, alongside traditional electric guitar, bass and percussion. They also employ a unique style of throat singing, which actually fits in well in the metal genre, alongside some of the growling and screamo heard in other bands.

The band charged the stage in full regalia like a musical horde and quickly won over the crowd with their individualistic style and presentation. A mid-set Metallica cover got any doubters up out of their seats to chant along, and they carried the increasing momentum through to their final song, 2022’s “This is Mongol” (originally on record with Alice in Chains’ William DuVall).

Their new album, released in July on the Better Noise label, is simply called Hun, and their broken English end cry of “We Love You, Kansas City!” was met with extended applause and cheers, all hoping to see them return soon.​