Concerts Reviews
LIVE REVIEW: Arkells Close Out Vancouver City Takeover With Explosive Commodore Set
Canadian rock band Arkells wrapped up the Vancouver stop of its “Between Us City Takeovers” run on May 9 with a packed show at Commodore Ballroom. After two smaller warm-up gigs earlier in the week at The Penthouse and Hollywood Theatre, the band landed in the sweet spot Saturday night: a legendary venue large enough for a full-on singalong, but still intimate enough to feel personal.
The evening opened with a set from Ernesto Trombodo, a trombone-playing DJ who quickly won over the early crowd with a loose, energetic performance that leaned into funk, indie rock, and a bit of playful chaos.
Arkells walked onstage to deafening cheers and wasted no time getting things moving. Frontman Max Kerman has built a reputation as one of Canada’s most engaging live performers, and he spent nearly the entire night in motion, dancing across the stage, climbing onto the stage set up, and constantly interacting with fans near the barricade. Even after nearly two decades as a band, Arkells still perform like they’re trying to win over every person in the room for the first time.
The show itself was split into two acts. The first half featured Between Us performed front to back, giving the band space to fully settle into the newer material before launching into a second set packed with fan favourites and older hits. It was a smart format that made the night feel more like an event than a standard tour stop.
Their energy has always been their secret weapon. The songs themselves are straightforward: big hooks, driving rhythms, choruses built for crowds to shout back. Live, though, they hit differently. At the Commodore, tracks like “Boss,” “Leather Jacket,” and “Knocking” became massive communal moments. Nearly every lyric echoed back toward the stage from the sold-out crowd.
The concert was technically in support of the band’s latest album, Between Us, but it never felt like one of those shows where fans politely tolerate the new material while waiting for the hits. Kerman recently explained that smaller and mid-sized venues give new songs space to grow naturally before they move into arenas and festival fields, and that idea made sense watching these tracks unfold live.
The newer material carries a noticeable ‘90s-pop-rock influence, with heavier keyboards and polished grooves that feel a little like vintage Hall & Oates filtered through modern indie rock. Onstage, though, the songs still carried the same punch and warmth Arkells fans expect.
One of the most interesting things about this mini-tour was the stripped-down setup. Arkells often tour with additional musicians and their Northern Soul Horns, particularly for festival appearances, but this run was just the core five members: Kerman, guitarist Mike DeAngelis, bassist Nick Dika, drummer Tim Oxford, and keyboardist Anthony Carone.
The leaner lineup worked in the Commodore’s favour. Without the extra layers, the songs felt more immediate and rough around the edges. There was a looseness to the performance that made the night feel less choreographed and more spontaneous. Kerman joked several times between songs, told stories about the band’s early Vancouver shows, and kept the atmosphere relaxed.
At one point, he reflected on how many stories the Commodore’s walls would be able to tell with the amount of times they played there. The crowd laughed, but it tied perfectly into the spirit of the City Takeovers concept: revisiting the kinds of venues that shaped the band long before arena headlining slots and festival crowds became normal.
That connection between band and audience defined the night. Arkells have never been a cool-from-a-distance type of rock band. Their shows thrive on participation. Fans danced constantly on the Commodore’s famous sprung floor, strangers screamed lyrics together, and phones popped up every few minutes as Kerman (and once accompanied by Ernesto Trombodo) wandered through the crowd during several songs.
By the final stretch of the set, “Leather Jacket” tipped the room into celebration mode. “Leather Jacket.” The night closed with Kerman standing near the side tables of the Commodore with just his guitar, leading the crowd through a massive a cappella singalong.
What made this show stand out wasn’t massive production or elaborate visuals. There were no fireworks, giant video screens, or over-produced transitions. Arkells relied entirely on chemistry, songwriting, crowd connection, and great music.
For a band that now headlines arenas and major festivals across Canada, these smaller “City Takeovers” could have easily felt like a nostalgia exercise. Instead, the Vancouver finale felt fresh and purposeful. Arkells weren’t just revisiting old rooms for sentimental reasons. They were reminding people why they became one of the country’s most reliable live bands in the first place.
And judging by the volume inside the Commodore Ballroom on Saturday night, Vancouver was very happy to welcome them back.
Arkells will be back in Vancouver on July 7 at the new PNE Amphitheatre for the FIFA Fan Festival.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
ARKELLS
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: Pitbull Celebrates Music, Unity, and 25 Years of Hits in Mountain View
Pitbull brought his I’m Back World Tour to the Bay Area on Sunday night, delivering a massive, high-energy celebration for a sold-out crowd at Shoreline Amphitheatre. Closing out the first leg of his tour, the 90-minute performance served as both a victory lap through 25 years of hits and a reminder of why Armando Christian Pérez remains a fixture in pop and dance music.
The crowd fully embraced the party atmosphere before the music even began. The stands were packed with fans dressed in Pitbull‘s signature uniform of white button-down shirts, black ties, and sunglasses. Bald caps, Lil Jon lookalikes, and creative outfits inspired by the night’s sponsors only added to the festive energy.
Pitbull wasted no time setting the tone, launching straight into crowd favorites “Don’t Stop the Party” and “Hey Baby.” Backed by a live band and a polished troupe of dancers, he transformed the open-air amphitheater into a massive nightclub. The energy surged even higher when “Hotel Room Service” exploded into a heavy electronic breakdown. Throughout the night, Pitbull seamlessly blended genres, weaving James Brown’s “I Got You (I Feel Good)” into his set while bringing Caribbean influences to tracks like “Echa Pa’lla.”
What makes a Pitbull concert unique is his ability to balance the roles of party host and motivational speaker. Between high-octane performances of hits like “Culo” and “I Know You Want Me (Calle Ocho),” which featured visuals honoring the legendary Celia Cruz, he paused to connect with the audience. He thanked fans for spending their hard-earned money on live music and spoke passionately about unity, reminding the crowd that music proves “there’s one race and one race only: the human race.”
One of the evening’s biggest highlights came when Lil Jon joined Pitbull on stage. Taking a moment to reflect on their long history, Pitbull thanked Lil Jon for believing in him and giving him his first major opportunity 25 years ago. Together, they tore through “JUMPIN” and “Damn I Love Miami” before Pitbull transitioned into “Timber,” complete with country-inspired line dancing choreography.
By the time he raised a celebratory toast with Voli 305 vodka and launched into a final stretch featuring “Time of Our Lives,” “Fireball,” and “Give Me Everything,” the energy had never once dipped.
Lil Jon‘s 45-minute opening set was a nostalgic trip through the 2000s. Part DJ, part hype man, the Atlanta rapper kept the bass heavy as he mixed snippets of era-defining tracks like “Crank That (Soulja Boy)” and “Party Up” alongside his own classics, including “Snap Yo Fingers” and “Shots.” The crowd’s reaction to “Get Low” was so overwhelming that he played it twice.
Amid the high-energy crunk anthems, Lil Jon also delivered one of the night’s most emotional moments. Following a video montage honoring his late son, Nathan Smith (DJ Young Slade), who passed away earlier this year, he fought back tears while thanking the Bay Area for its decades of support, describing the performance as a form of therapy.
Ultimately, the night delivered exactly what was promised: nostalgia, nonstop energy, and a reminder that nobody throws a party quite like Mr. Worldwide.
Check out our favorite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
Wed Aug 19 – Bristow, VA – Jiffy Lube Live
Fri Aug 21 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Sat Aug 22 – Hershey, PA – Hersheypark Stadium
Tue Aug 25 – Wantagh, NY – Northwell at Jones Beach Theater
Wed Aug 26 – Syracuse, NY – Empower Federal Credit Union Amphitheater
Fri Aug 28 – Hartford, CT – The Meadows Music Theatre
Sat Aug 29 – Mansfield, MA – Xfinity Center
Mon Aug 31 – Bangor, ME – Maine Savings Amphitheater
Wed Sep 2 – Saratoga Springs, NY – Saratoga Performing Arts Center
Thu Sep 3 – Holmdel, NJ – PNC Bank Arts Center
Sat Sep 5 – Toronto, ON – RBC Amphitheatre
Wed Sep 9 – Clarkston, MI – Pine Knob Music Theatre
Thu Sep 10 – Grand Rapids, MI – Acrisure Amphitheater
Sat Sep 12 – East Troy, WI – Alpine Valley Music Theatre
Sun Sep 13 – Tinley Park, IL – Credit Union 1 Amphitheatre
Tue Sep 15 – Cincinnati, OH – Riverbend Music Center
Wed Sep 16 – Cuyahoga Falls, OH – Blossom Music Center
Fri Sep 18 – St. Louis, MO – Hollywood Casino Amphitheater
Sat Sep 19 – Noblesville, IN – Ruoff Music Center
Tue Sep 22 – Rogers, AR – Walmart AMP
Fri Sep 25 – Kansas City, MO – MORTON Amphitheater
Sat Sep 26 – Shakopee, MN – Mystic Lake Amphitheater
More information here.
PITBULL
LIL JON
All Photo Credit: Starr Lee
Concerts Reviews
LIVE REVIEW: 5 Seconds of Summer Turned Fame Into a Spectacle at Montreal’s Centre Bell
Over the past decade, 5 Seconds of Summer have accomplished something that many bands struggle to achieve: they’ve successfully evolved without losing the qualities that made fans fall in love with them in the first place. From their early 2000s days as energetic teenagers playing pop-rock anthems, their rise to fame opening for the world-renowned (ex) boyband One Direction, to their current status as seasoned musicians exploring increasingly experimental but captivating new sounds, the quartet consisting of lead singer Luke Hemmings, lead guitarist Michael Clifford, drummer Ashton Irwin and bassist Calum Hood, have proven their talent of continually reinventing themselves while maintaining an unmistakable identity.
On June 3, 2026, the Australian pop-rock band brought their “Everyone’s a Star” tour to Montreal’s Centre Bell, transforming the arena into a tongue-in-cheek celebration of fame, fandom, and the absurdity of life as a globally successful band. With the theme of the performance centred around the idea of the group’s “last show”, (premise that was obviously not true, since they’re on tour!), the show functioned as both a concert and a theatrical parody of celebrity culture, complete with award ceremonies, fan participation, and enough self-aware humour to keep the concept engaging and the audience laughing throughout the night.
First off, however, was an opening performance by The Band CAMINO, a rock band from Tennessee. Known for their hits such as “See Through” and “I Think I Like You”, the band did an excellent job of setting the tone for the night through their energetic set.
From the moment 5 Seconds of Summer stepped onstage, it was evident that the show was more than just a “get up, perform, and on to the next” type of show. The production presented an alternate reality in which 5 Seconds of Summer were navigating the final chapter of an impossibly glamorous career. Every “act”, as the band called it, of the show fed into that narrative, allowing the band to poke fun at their own success while celebrating the community that helped create it. These acts were Act 1: The Peak, Act 2: The Fall, Act 3: The Yearning, Act 4: The Breakup (the band member’s solo music was played here), Act 5: The Rise, Act 6: The Beginning, and finally, Act 7: The Return. To make the gag more believable, the band recorded fake news segments, fake controversies and fake interviews to bring fans even deeper into the world and narrative they created with this tour theme.
One of the evening’s most memorable moments came during “Boyband,” when a VIP fan was invited onstage to present the band with an award. The ceremony played like a mock awards ceremony tribute, reinforcing the show’s satirical take on fame while simultaneously acknowledging the fans who have supported the band throughout their career. While “accepting” the award, the band took turns thanking different Canadian icons, with Michael Clifford thanking Celine Dion for “teaching us everything,” and lead-singer Luke Hemmings who yelled nothing but “SIMPLE PLAN!”
Another part of the show that earned a lot of laughs was when the band showed the crowd the way they “became a local” during their day in Montreal. They recounted how they visited Montreal’s Underground City, tried to find the best poutine, and even had Luke Hemmings try (badly, sorry!) to speak a few common French phrases.
The relationship between artist and audience was a recurring theme throughout the night, and another great example was during the surprise song segment, where fans voted for a surprise song out of 4 choices before the show started. The announcement of “Don’t Stop” sent the Centre Bell into a roar of cheers, and helped add a sense of uniqueness to each show when the setlist remains otherwise the same.
Another highlight came during Act 4, the section dedicated to the members’ solo work. Rather than presenting themselves solely as a collective, each member was given an opportunity to showcase material from their individual projects. These songs were “Starting Line” by Luke Hemmings, “Don’t Forget You Love Me” by Calum Hood, “Have U Found What Ur Looking For?” by Ashton Irwin, and, my personal favourite, “enough” by Michael Clifford. Although they are recognized as part of a band, it was inspiring to see how each member found their own identity, and didn’t let being part of the band solely define their music.
Musically, the band sounded confident and comfortable throughout the 27 song set. Elaborate lighting, dynamic video screens featuring 2000s graphics, and a unique stage setup featuring a car for Ashton Irwin’s drum kit elevated the show without distracting from the music itself, highlighted as well through the use of props like giant inflated balls, blow up dolls, and most notably, confetti during “Not OK,” “Bad Omens,” and their closer “Youngblood.”
Perhaps the most impressive achievement of “Everyone’s a Star” is how effectively it balances irony and sincerity. The tour openly mocks the conventions of celebrity culture, but beneath the jokes lies a genuine appreciation for the fans who have accompanied the band throughout its journey. As Michael Clifford said; “Real bands save fans, real fans save bands.”
If the goal of “Everyone’s a Star” was to make every audience member feel like part of the story, then Montreal’s June 3 performance succeeded spectacularly. From old hits like “She’s Kinda Hot” and “Youngblood,” to new songs like “Everyone’s A Star!” “Evolve” and “istillfeelthesame,” even casual fans had a song that met their taste. Equal parts concert, comedy, nostalgia trip, and love letter to the 5 Seconds of Summer fandom, it was a show that understood exactly what has kept 5 Seconds of Summer relevant for so long: not just great songs and a unique sound, but a genuine ability to make fans feel seen. Plus, nothing beats the feeling of starting your summer by screaming the lyrics to “She Looks So Perfect”!
Click here for more information on the tour and upcoming dates!
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
5 SECONDS OF SUMMER
THE BAND CAMINO
All Photo Credit: Ashley Bellam