Concerts Reviews
bb’s bonanza Charity Fest 2024 at the Malkin Bowl in Vancouver, BC – Review
On May 26, Vancouver’s hip-hop artist bbno$ hosted a special hometown show at the Malkin Bowl with all his friends, under the banner of bb’s bonanza. All proceeds from ticket sales will be donated to the Downtown Eastside Women’s Centre.
Despite the rain and somewhat cold temperature for the end of May, everyone was in high spirit and the venue filled out quickly with a sea of fans donning their rain jackets and mud-ready Blunstones, ready to party for over 5 hours. The stage was adorned with props reminding everyone of a medieval fair. LARP games were available for folks who wanted to immerse themselves in the universe.
The lineup featured established and up-and-coming artists: Jungle Bobby, Eric Reprid, Haviah Mighty, Joost Klein, Freddie Dredd, Yung Gravy, Baby Gravy and finally bbno$.
Check out our full gallery of the night on our Facebook page!
Jungle Bobby
Vancouver artist Jungle Bobby, who had joined bbno$ on the road for many years, started the day. In Bobby‘s own words on what the audience can expect from his sets: “They can expect flair. They can expect cinematic behavior. They can expect fun, just a really good time filled with love. They can expect to feel better leaving the show compared to when they walked in. They can expect good music and they can expect to dance.” And that’s exactly what he delivered! With his bouncy energy and colourful outfit, he was the perfect act to open the fest.
Eric Reprid
Up next was Canadian rapper Eric Reprid, aka Shi Yi Lu. Reprid releases all his music copyright-free, allowing anyone to use it in mixtapes, parties, YouTube, or TikTok videos, as long as they credit him. This generous approach has saved content creators money and increased his exposure. His song “Cold World” from the album of the same name was nominated for a Juno Award in 2021, making him the only completely independent artist in the category, although he didn’t win. The song’s catchy tune and Reprid‘s smooth delivery, combined with producer Marc Wavy’s versatile beats, rival those of major label artists. His sense of humour definitely carried through his set: “If you know the words of this song, don’t sing-along. It’s my song!”
Haviah Mighty
The only woman of the line-up was Haviah Mighty, a Canadian rapper from Brampton, ON. Haviah Mighty brought her dynamic energy to the stage where she performed tracks from her Juno-nominated album Stock Exchange. She showcased her swagger, flow, stage presence, and insightful rhymes. Her performance was both entertaining and enlightening. Haviah Mighty, already noted as a rising star in Canadian hip hop since her debut 13th Floor won the Polaris Music Prize in 2019, lived up to her reputation as one-to-watch.
Joost
Joost Klein, also known simply as Joost, is a Dutch rapper, singer, and content creator renowned for his eclectic musical style and humorous persona. His tracks blend elements of hip hop, pop, and electronic music with witty, often satirical lyrics. His breakout came with the single “Scandinavian Boy,” which showcased his unique approach to music and humor. He delivered an energetic performance and showcased his distinctive style. As expected, he performed his Eurovision 2024 song “Europapa” under the cheers of the crowd, as well as a new song in Dutch. Throughout the whole set, Joost was jumping all over the stage, repeatedly screaming “Canada!” in his mic – his way of showing appreciation for being here. bbno$ even made a quick appearance running across the stage with a Dutch flag.
Freddie Dredd
Freddie Dredd, aka Ryan Mitchel Chassels, is a Canadian rapper, producer, and internet personality hailing from Oshawa, Ontario. Known for his dark, gritty style and blending of hip-hop with horrorcore elements, Dredd has carved out a unique niche in the underground rap scene. His music often features lo-fi beats, eerie samples, and lyrics that explore themes of violence and the macabre, setting him apart with a distinctive sound. Despite his unconventional style, Freddie Dredd‘s music has achieved significant success, resonating with fans who appreciate his raw and unapologetic approach. His work continues to grow in popularity, marking him as a significant figure in the evolution of modern hip-hop.
Yung Gravy
Then came Young Gravy, an American rapper, singer, and songwriter known for his humorous lyrics and catchy beats. Hailing from Rochester, Minnesota, Young Gravy gained popularity in the late 2010s with his single “Mr. Clean” – that he obviously performed that night – and unique blend of hip-hop, trap, and vintage samples, often incorporating elements of soul and old-school music into his tracks. Young Gravy‘s music often features witty, irreverent lyrics that blend modern rap with nostalgic references, making him a distinctive figure in the hip-hop scene. His discography includes popular projects like “Snow Cougar” and “Sensational,” which have helped him amass a dedicated fan base and millions of streams. His charismatic stage presence and engaging performances set him apart and solidify his place as a rising star in contemporary hip-hop.
Baby Gravy
As the second-to-last act, Yung Gravy and bbno$ joined forces as Baby Gravy. The duo, already on their 3rd album, met 8 years ago through SoundCloud. Both put on a great show and got the fans jumping, dancing and singing-along every tracks. The duo performed their most notable songs like “Welcome to Chilis” and “Whip A Tesla”. They even brought back Freddie Dredd on stage for one song.
bbno$
bbno$, aka Alexander Leon Gumuchian, closed the night, dressed a court jester. The Vancouverite rapper, singer, and songwriter is known for his catchy, upbeat music and humorous, laid-back lyrical style. He first gained recognition in the late 2010s through the viral success of his collaborative singles and innovative use of social media platforms like TikTok.
His breakthrough came with the hit single “Lalala,” a collaboration with producer Y2K, which became a global sensation and amassed hundreds of millions of streams. bbno$‘s music often blends elements of hip-hop, pop, and electronic music, characterized by playful beats and witty, self-referential lyrics. bbno$ has built a dedicated fanbase and established himself as a prominent figure in the modern music scene.
He delivered a high-energy live performance that captivated audiences with his charismatic presence and infectious beats. With his playful and humorous lyrics, he engaged the crowd with a mix of witty banter and dynamic stage antics. He even brought a sword swallower on stage! He performed his new single “lil’ freak”, as well as many fan favourites like “Edamame”.
Overall, it was an evening of great tunes for a worthy cause, with a great line-up of many indie artists. As bbno$ pointed out, they all performed for free in order to give as much of the proceeds to the Vancouver Downtown Eastside Women’s Centre. Hints were dropped during the night that this might be the 1st edition of many Bonanza. We can’t wait for next year!
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: The Paper Kites Bring Warmth and Quiet Charm to Vancouver
On May 20th, Australian folk band The Paper Kites brought an intimate night of their warm indie folk tones to The Centre for Performing Arts.
The band is touring in support of their newest album, If You Go There, I Hope You Find It, which sees them lean further into their warm, atmospheric indie-folk sound, delivering a reflective and intimate collection shaped by themes of home, longing and quiet hope. Compared to their last record, At The Roadhouse, which leaned into a more Americana sound, this feels more of a return to form for the band. Tunes are reminiscent of some of their earlier Twelvefour and On the Train Ride Home material that put them on the map.
At 9:00 pm, the lights dimmed in the auditorium and with no grand entrance, the band took the stage to a roar of the audience, opening with the first track of If You Go There, I Hope You Find It “Morning Gum”. In the classic Paper Kites fashion, the whole group stood around lead singer Sam Bentley’s microphone for a stripped-down intro, before tending to their main instruments and kicking in their full sound.
The Paper Kites continued to preview some of their new material, like “Change of the Wind” and “Every Town,” while mixing in some of their best on At The Roadhouse, like “Till the Flame Turns Blue” and “Black & Thunder.”
For a cover of Colin Hay’s “I Just Don’t Think I’ll Ever Get Over You”, Sam brought out opener, Donovan Woods, to help him perform the song acoustically. Showing off some of his charisma, Sam joked about breaking the number one rule and asking Hay what his song was about — ultimately getting the response that it was about drinking Whisky to get through some of the hard times. The pair delivered a beautiful rendition of the song, blending soothing vocal harmonies that earned a roaring response from the audience.
Sam introduced the band: Christina Lacy on guitar and keyboards, his brother Josh Bentley on drums, Sam Rasmussen on bass guitar and synthesizers, and David Powys on “just about everything,” including guitar, banjo, lap steel, and bongos.
The frontman reinforced just how grateful the band was to be back in Vancouver, which they have been visiting for the better part of 13 years now. He talked about their humble beginnings playing the Biltmore Cabaret and staying at the Patricia Hotel, the now SRO that sits on the cusp of the East Hastings area — definitely an eye opener for the Australian group. Getting stuck in the snow in Wyoming, The Paper Kites had to cancel their Portland show, with the band admittedly upset as they hadn’t had to cancel a show in their tenure as a group. With some hustle, The Paper Kites were able to make it to Vancouver — again, Sam expressing his deepest gratitude for fans making it out to the gig.
To a roar of the crowd, the Aussie musicians came back out for a two-song encore, starting with their hit “Bloom,” with fans helping out the band with the choruses. David Powys got a moment to shine with a tasteful banjo solo that stole the show. Ending the night, Sam egged the crowd to get on their feet as they closed with the feel-good song, “When The Lavender Blooms.”
The Paper Kites delivered an intimate collection of songs, seamlessly capturing the crowd’s hearts from the beginning. With the Centre being a 1800 capacity venue, the band has a way of making you feel like you’re in a bar, with their charm and stripped back sound. Sam shared the sentiment that each time they return, the crowds seem to grow — and it’s clear that whenever The Paper Kites are in town, passionate fans show up, with more joining every time.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
THE PAPER KITES
All Photo Credit: Hunter Soo
Concerts Reviews
LIVE REVIEW: The Last Dinner Party Turned Vancouver’s Orpheum Into Their Own Gothic Playground
There’s a thin line between theatrical and try-hard. The Last Dinner Party spend most of their live show sprinting directly at that line, then somehow vaulting over it without falling flat on their face. At the Orpheum Theatre in Vancouver on May 19, the band’s From The Pyre Tour felt huge, dramatic, occasionally ridiculous, and fully convincing anyway.
That’s harder to pull off than people give them credit for. A lot of bands borrow aesthetics: velvet curtains, religious imagery, corsets, vintage silhouettes, tragic womanhood as performance art. The Last Dinner Party actually build a world around those ideas and commit to it so fully that the audience starts behaving like they’ve entered the same universe. Walking into the Orpheum before the show felt like arriving late to an elaborate costume party where everyone had been assigned a literary archetype ahead of time with lace gloves, ribboned dresses, heavy boots, and tiny opera binoculars. One woman looked like she’d escaped from a haunted manor in 1872 ; another looked ready to front an early-2000s emo band. Somehow both made sense.
The Last Dinner Party opened with “Agnus Dei,” and immediately the whole production snapped into focus. The towering drapery, faux-stone staging, dim cathedral lighting, and the band’s carefully styled costumes could have overwhelmed the actual music in weaker hands. Instead, it sharpened it. The set design wasn’t decoration, it functioned like an extension of the songs themselves.
Frontwoman Abigail Morris remains one of the most magnetic performers working right now partly because she never performs like she’s above any of this. Plenty of singers can command a room. Morris pulls people into one. She spent nearly two hours stalking across the stage, throwing herself into songs with total conviction, then suddenly grinning between tracks like she still can’t believe the band got this big this fast. That balance matters as without it, the band’s maximalism could easily turn self-serious. Instead, the show constantly breathed.
The run of “Count the Ways,” “The Feminine Urge,” and “Caesar on a TV Screen” early in the set was absurdly strong. Guitarist Emily Roberts shredded through riffs with a refreshingly unpolished swagger compared to a lot of modern indie rock’s obsession with restraint. There were moments during “Caesar on a TV Screen” where the entire show tipped into full glam-rock spectacle. Big gestures, big harmonies, big emotions, and no apology for any of it.
Midway through the set, things got darker and more interesting. Songs from From The Pyre carried far more weight live than they do on record, especially “Woman Is a Tree” and “Rifle.” The quieter moments felt genuinely tense inside the Orpheum. You could hear the room lock in. During the eerie vocal opening of “Woman Is a Tree,” the band gathered close together beneath dim lighting while shadowy bird imagery hovered overhead. It was one of the night’s best moments.
The absence of bassist Georgia Davies, who remains off tour recovering from injury, was acknowledged warmly. Touring bassist Max Lilley handled the material well, though Davies’ absence still felt noticeable in a band this chemistry-driven. The Last Dinner Party work best when they feel like five personalities colliding together at once.
Keyboardist Aurora Nishevci quietly stole several moments throughout the night, especially during “I Hold Your Anger,” which landed with force live. The band’s harmonies remain their secret weapon. Beneath all the theatricality and visual ambition, they’re still an exceptionally tight musicianship-first band.
Before launching into “Nothing Matters,” Morris asked the crowd to put their phones away for one song. The people listened and suddenly the room felt freer and less self-conscious. The balcony shook during the chorus as people screamed every word back at the stage.
The encore leaned fully into chaos. “This Is the Killer Speaking” arrived with dance instructions and country-western absurdity. By the time the band closed with an “Agnus Dei” reprise, the crowd looked exhausted and completely won over.
The Last Dinner Party are already very good. What makes this tour exciting is that they still feel slightly dangerous around the edges. There are moments where the ambition threatens to spill over, moments where things nearly become too theatrical or too sentimental. But they should protect that feeling at all costs.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming From The Pyre Tour Dates:
05/20 Portland, OR – Arlene Schnitzer Concert Hall %
05/22 Seattle, WA – Showbox SoDo %
05/26 Sacramento, CA – Channel 24 %
05/27 Oakland, CA – Fox Theater %
05/29 Los Angeles, CA – Orpheum Theatre %
05/31 Del Mar, CA – The Sound %
06/02 Denver, CO – Mission Ballroom %
06/04 Des Moines, IA – Val Air Ballroom %
06/05 Saint Paul, MN – Palace Theatre %
06/07 Detroit, MI – Masonic Jack White Theatre %
06/09 Columbus, OH – KEMBA Live! %
06/10 Nashville, TN – The Pinnacle %
06/12 Charlotte, NC – The Fillmore Charlotte %
06/13 Atlanta, GA – The Eastern %
% with Automatic
More information here.
THE LAST DINNER PARTY
AUTOMATIC
All Photo Credit: Caroline Charruyer