Concerts Reviews
Everyday’s A Friday When Ice Cube Performs In Vancouver
It’s not every day Vancouver gets a visit from rap royalty, but when Ice Cube rolls through, the city shows up in full force. The Pacific Coliseum was packed with fans of all ages, ready to celebrate Cube’s Four Decades of Attitude Tour. Over the course of the night, Ice Cube delivered a massive 34-track set that spanned his legendary career. If you could name a song, there was a good chance you heard it live. Each moment felt bigger than the last, with surprise after surprise keeping the crowd on its toes. By the final track, it was clear this was one of Vancouver’s standout shows of the year.
From Cripwalking to downing drinks, Ice Cube’s DJ had the crowd fired up, blasting a mix of old and new rap classics that shook the Pacific Coliseum. One glance around the room told you this was going to be a wild night. A line of police officers and firemen stood ready on the floor, prepared for whatever chaos might erupt once Cube hit the stage. As the DJ wrapped up, the crowd’s energy shifted. Fans began chanting “ICE CUBE,” their voices growing louder and more intense with each round. The sound of thousands calling for the legend sent chills through the venue. Then, the lights were cut out. In an instant, chants turned into deafening screams. After months of anticipation, the moment had arrived, Ice Cube was about to take Vancouver by storm.
The show began with a powerful montage projected across the massive video screen, tracing Ice Cube’s journey from his early struggles to his inspirations, culminating in the historic rise of N.W.A. As the final image faded, Cube stormed onto the stage, his presence commanding the room. From his style to his energy, everything about him screamed icon. The crowd erupted, cheering, applauding, and shouting, “That’s my boy, Cube!” like they were welcoming a close friend. Wasting no time, he launched into the explosive opener, “Fuck tha Police.” With a visible line of police officers in the venue, the song carried an extra charge. The audience roared the lyrics, some even directing them straight at the officers, setting the tone for a night fueled by unfiltered energy. Cube kept the N.W.A. vibe rolling with “Dopeman” and “Boyz-N-The-Hood.” During the latter, the energy shifted to a more emotional moment as he paid tribute to the late, great Eazy-E. In a move that stunned the crowd, Cube brought out Lil Eazy-E to perform alongside him. The arena went wild, jaws dropping at the sight. By the end of the song, Cube and Lil E embraced centre stage, a touching tribute that felt like family honouring family.
“Straight Outta Compton” closed out the N.W.A. portion of the night with a bang, wrapping up an opening run so electrifying it’s hard to fully capture without witnessing it yourself. After the track, Cube stepped offstage, and the screens lit up once more, this time taking fans through his journey into the 90s as he launched his solo career. The crowd lit up with smiles and nods, many reliving memories from the era as Cube’s story unfolded before them. When he returned, the arena erupted. Cube unleashed a string of classics, including “Once Upon a Time in the Projects,” “No Vaseline,” and “Check Yo’ Self”. As we reached 1994, Cube talked about how Eazy-E’s loos created sadness, and previous years were too wild. So he decided to write a film, Friday. The introduction led him to the performance of the track which triggered the brains of every audience member to dance. He included a small vignette dedicated to his friend, mentor, the late great John Singleton, who directed the hit film Boyz-N-The-Hood. It was a touching and honourable tribute.
Following, each track sending waves of nostalgia and hype through the crowd. Then came another twist. Cube began talking about his time with a certain “little supergroup” known as Westside Connection. The moment he dropped into “Bow Down,” the energy hit a fever pitch as Dub-C stormed the stage, igniting a frenzy that had the entire venue on its feet. Dub and Ice tore through a relentless run of hits, firing off “Gangsta Nation,” “Natural Born Killaz,” and the hard-hitting “The Gangsta, The Killa and The Dope Dealer,” which famously samples Nine Inch Nails. For 11 straight tracks, Dub held it down alongside Cube, and the crowd matched their energy every step of the way. Whether it was the sheer power of the music or the haze of smoke filling the arena, fans seemed to be on another level entirely. People were dancing like nobody was watching, rapping every lyric to songs they’d grown up with. The high point came with “Ain’t Got No Haters,” after which Cube left the stage, leaving the crowd wondering if the night was over. Vancouver wasn’t having it. Thousands of voices rose in unison, chanting “IT WAS A GOOD DAY!” until the walls practically shook. Moments later, Cube returned with a smile, ready to give the city the encore it had been demanding.
Ice Cube paused to share his love for Vancouver, praising the city, its people, and the electric energy of the crowd. That heartfelt moment led perfectly into the words everyone was waiting for: “It Was A Good Day.” The reaction was instant and explosive. The arena erupted as fans shouted every lyric, turning the track into a full-blown celebration. It was a moment of pure connection, with thousands of voices and memories colliding into one unforgettable experience. To close out the night, Cube shifted gears and performed “It’s My Ego,” a standout from last year’s Man Down album. Even though it was a newer track, the crowd embraced it like a classic, rapping along with the same passion they had for his legendary cuts. It was the perfect high note to end a night that proved Ice Cube’s legacy is as powerful as ever.
As Ice Cube’s night in Vancouver came to a close, thousands of fans poured out of the Pacific Coliseum, many treating the experience like a massive Saturday night family gathering. Conversations buzzed with excitement, and more than a few voices declared it one of the “greatest rap shows ever”. Honestly, it’s hard to disagree. I’ve been to more concerts than I can count, and this one stands near the very top. The energy was unmatched, the setlist packed with career-defining tracks, and the performance so powerful that at times. I wondered if we were witnessing a celebration of Cube’s legacy or a farewell. The production was just as impressive, featuring a rising stage and an upper platform decked out with two green Impala convertibles straight out of the “It Was A Good Day” music video. It was a visual nod to a career that has shaped both music and film, with Cube continuously finding ways to bring people together. For decades, fans have said things like, “We gotta listen to the new Cube,” or “Cube’s got a new movie out,” and that same excitement radiated through this show. If Ice Cube visits your city, all I can say is “You gotta check out Cube live”.
I’d like to thank Ice Cube and his incredible team for allowing us to capture and experience his Four Decades of Attitude Tour. If you’d like to find a future date, or more on the artist, please visit here: Ice Cube Website
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
ICE CUBE
All Photo Credit: Marquise Monno
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: Goldfinger Keep the Pit Moving and the Shoes Flying in Vancouver
On April 17th, the Commodore Ballroom in Vancouver felt like a ska-punk time warp, with California punk legends Goldfinger supporting their new album, Nine Lives.
Sullvn got things rolling with a set that didn’t waste any time. Within minutes, hats were flying into the crowd like it was a merch-based game show, and the vibe quickly turned into organized chaos. They brought to the stage Dicky Barrett, former frontman of Mighty Mighty Bosstones for their hit “Raise a Glass”.
Next up was Broadway Calls, proving once again that a three-piece can absolutely shake a room. Their brand of fast, hooky punk tore through the crowd, with songs like “Call It Off” and “Back to Oregon” landing like instant jolts of energy. By the time they wrapped, the room was fully ready for Goldfinger.
Right away, frontman John Feldmann started doing crowd math. “How many of you are under 20?” A few scattered hands. “Over 40?” A lot more hands. He laughed and proudly stated that to still be doing this 32 years later as the best feeling in the world. This wasn’t a band clinging to nostalgia… but they also weren’t about to ignore it.
From there, it turned into the kind of chaos Goldfinger shows are known for, a non-stop blur of songs, crowd surfers, and, of course, the sacred tradition of shoes flying through the air. Somewhere along the way, footwear stopped being optional and started being part of the performance. Pairs were held up like trophies, launched across the room, or lost to the pit entirely. If you managed to leave with both shoes still accounted for, honestly, that’s a personal victory. The setlist leaned into exactly what people wanted. “Here in Your Bedroom,” “Chasing Amy” “Counting the Days”, all the hits, all loud, all sung back at the band like it was a group project. The floor barely stayed still for more than a few seconds, and the security team definitely got their steps in from the steady stream of crowd surfers.
During “Mable,” they pulled fans up on stage to dance, turning the whole thing into a slightly chaotic, very wholesome party. And then… “Superman.” The reaction was instant. Like, no hesitation, full-body nostalgia. The second it started, it felt like half the room got mentally transported back to playing Tony Hawk’s Pro Skater 2 in their living rooms. Suddenly, everyone knew every word (even the ones they probably didn’t know they knew), and the energy somehow went up another level. It wasn’t just a highlight, it was the moment.
When it wrapped at the Commodore Ballroom, the place was wrecked in the best way – sweaty, shoeless, and buzzing. Still, no one seemed in any hurry to leave.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
GOLDFINGER
BROADWAY CALLS
SULLVN
All Photo Credit: Heather Horncastle