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
Waka Waka en Baltimore: A Review of Shakira at CFG Bank Arena
The CFG Bank Arena in Baltimore, Maryland, has stood the test of time. From The Beatles playing sold-out shows in the 60s to Van Halen in the 80s and Prince in the 2010s, the arena has played host to the biggest names in music, sports, and history for over 60 years. Millions of fans have filled the seats built over the site where the Continental Congress once met. On Monday night, another historic name was added to the roster of CFG Bank Arena alumni. Playing to a nearly sold-out crowd, Shakira shook her hips and dazzled for hours of non-stop Latin pop fun.
The Colombian-born singer, with four Grammys, has wooed stages across the world for decades, and this latest stop along the Las Mujeres Ya No Lloran tour was no different. Shakira has come a long way since her 1991 debut album, Magia. With dozens of awards, a Super Bowl Halftime show performance, and now the highest-grossing Latin tour ever, her fame has risen to previously unattainable levels for a Latin singer.
This tour, in support of her newest album, which shares the same name as the tour and was released in 2024, has brought Shakira to every corner of the globe. Her first tour in nearly seven years kicked off in Brazil early last year and is quickly coming to a close, with just seven US dates remaining before a 12-show residency in Spain to end the monumental run. But the tour could not finish up without Shakira’s first ever appearance in Baltimore.
The show unfortunately started almost an hour late, though that did give a chance for the energy and anticipation to reach a fever pitch. Hundreds of fans stood on their chairs hoping to catch a glimpse of the singer as she walked to the stage. Almost every person in the room had their phones out hoping to capture a moment they would never forget.
Shakira took the stage in a glittering gold jacket and sunglasses that she slowly took off while smirking. One lucky fan ended up with an eternal memento as she threw the glasses into the crowd. As the music began to play behind her, Shakira belted out the first notes of “La Fuerte.” Thousands of voices joined in unison for the rest of the night. The only people that were silent were too mesmerized by her beauty to form complete sentences.
The setlist for the night led fans on a tour of Latin pop history. Many fans’ parents weren’t even born yet when the first Shakira album was released, but everyone, old or young, enjoyed the night the same. The first half of the night included hits like “Girl Like Me” from her collab with the Black Eyed Peas, “Te Felicito,” “TQD,” “Copa Vacia,” and “La Tortura.” The vibes were absolutely immaculate through the first 12 songs, with hips shaking, bodies moving, and heads bobbing.
The energy went through the roof though as the intro to “Hips Don’t Lie” rang out. Arguably one of her most famous songs, the beat had everyone rocking. I have never seen fans embody the groove so quickly as when each song played on Monday night. It was quite impressive seeing the crowd transitioning from swaying emotionally with the soft songs to nearly jumping as high as the ceiling during the harder-hitting songs.
The back half of the setlist was filled with even more hits than the first half. One of the best moments of the night was a barn full of zoo animals joining Shakira on stage for her hit Zootopia 2 song “Zoo.” Continuing, “Ojos Asi” and “Underneath Your Clothes” were played and extremely well received! There was not a song on the set that didn’t receive screams from thousands of rabid fans.
As the night wrapped up, Shakira walked off the stage to “Waka Waka,” but that was not the finale. The night could not end without “She Wolf.” But when the night was over, it was extremely hard to clear the building as it seemed like everyone wanted a second encore and kept chanting Shakira’s name. Unfortunately, there would not be a second encore, but I think everyone got their money’s worth.
This was overall just an amazing show. Everyone knows what they are going to get at a Shakira concert and she did not let them down! The dancing was superb, Shakira’s voice sounded amazing, and the visuals were spectacular. I highly recommend seeing Shakira before the tour ends, because she does not come around often.
The tour will continue on in Boston and New York later this week, so if the Baltimore fans want a round two, it is only a short Amtrak ride to the next Shakira spectacle.
Check out our favorite photos of the night below or head to our Facebook page for the full gallery!
SHAKIRA IN BALTIMORE
All Photo Credit: Ryan Renger
Concerts Reviews
LIVE REVIEW: One Last Wedding – Summer Walker Ends Her Tour in Vancouver
For years, Summer Walker built her career on sounding like someone caught in the middle of heartbreak. Her songs lived in messy relationships, late-night regrets and emotional honesty that made listeners feel like they were reading pages from her diary. On Friday night at Rogers Arena, she brought that chapter to a close.
The Vancouver stop marked the final North American date of the Still Finally Over It Tour, and there was a fitting sense of finality hanging over the evening. Recent comments from Walker about taking a break from touring, and even considering retirement from the road, gave the performance a little more weight. Whether this was the last time Canadian fans will see her headline an arena remains to be seen, but she certainly treated it like the end of an era.
The evening opened with a smooth set from British R&B artist Odeal, whose laid-back blend of Afrobeats, soul and contemporary R&B eased the crowd into the night. His relaxed stage presence provided a fitting contrast to the theatrical production that would follow, and he was warmly received by fans arriving early. After Odeal wrapped up, the arena kept its energy high thanks to a backstage DJ who spun a string of familiar R&B and hip-hop hits. Instead of passively waiting for the headliner, much of Rogers Arena turned into a dance party, with fans singing along and dancing in the aisles well before Summer Walker made her entrance.
Walker opened with “Finally Over It,” emerging in an white wedding gown complete with an oversized train and an elderly groom seated beside her in a wheelchair. It was dramatic, and exactly the kind of theatrical symbolism that has defined the rollout for Finally Over It. The image said everything before she even sang a note: this was both a breakup story and a farewell to one.
It didn’t take long before the dress came off, revealing a sparkling corset bodysuit underneath as the show shifted into a glamorous cabaret. That transformation became the night’s central idea.
The production was easily the most ambitious of her career. Giant velvet curtains, vintage Hollywood visuals, feathered dancers, aerial performers, fire acts and costume changes turned the concert into something closer to musical theatre than a standard R&B show. Walker clearly knew the world she wanted to build.
There were moments where the transitions stretched a little too long. Between dance numbers, wardrobe changes and theatrical interludes, the pacing occasionally lost momentum. The show sometimes seemed almost too invested in its own spectacle. Then Walker would return to the stage for “Body,” “Playing Games” or “No Love,” and the energy instantly snapped back into place.
That speaks to the strength of her catalogue. Few artists in modern R&B have assembled such a consistent run of songs that audiences know word for word. Throughout the night, Rogers Arena became one giant choir, with thousands of fans carrying verses Walker barely needed to sing herself.
That leads to one of the show’s more complicated aspects. Walker leaned on backing tracks more than some concertgoers might expect. If you’re looking for powerhouse live vocals from start to finish, this isn’t that kind of show. The emphasis was always on atmosphere, storytelling and emotion rather than technical vocal performance. It won’t work for everyone, but it felt like a deliberate creative choice rather than a limitation. It seemed to work for the audience.
Ironically, the quieter moments ended up being the strongest. Acoustic performances stripped away the elaborate staging and showed why Walker became one of R&B’s defining voices in the first place. Without dancers or elaborate props competing for attention, songs like “Session 32” landed with great intimacy.
Midway through the concert, Walker left the main stage for a candlelit banquet table positioned among the crowd. Decorated with roses and wedding décor, it transformed part of the arena into an intimate reception hall. Walking through the audience to perform “Girls Need Love,” signing autographs and stopping to connect with fans along the way, she looked remarkably comfortable. That may have been the biggest surprise of the night as Walker has spent years openly discussing her struggles with anxiety and stage fright, often avoiding touring altogether. Watching her confidently navigate the arena, smiling, interacting with fans and commanding an elaborate production felt like a victory. The growth was visible.
The burlesque influences never overwhelmed the music. Instead, they mirrored the emotional journey running through the Over It trilogy. The wedding imagery, glamorous costumes and playful choreography all pointed toward the same conclusion: heartbreak doesn’t get the final word.
Closing with “FMT,” Walker brought the evening full circle. Thousands of phone lights filled Rogers Arena, giving warmth to the final moments.
For an artist who once seemed reluctant to stand in front of an audience at all, ending her biggest tour with a production this bold felt quietly triumphant. Summer Walker may be finally over the heartbreak that inspired her music. More importantly, she seems to have found peace with the stage itself. If this truly was the closing chapter of her time as a touring headliner, Vancouver got a fitting finale.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
SUMMER WALKER
ODEAL
All Photo Credit: Caroline Charruyer