Concerts Reviews
From Tears to “Barbie Girl”: Aqua Lights Up Vancouver
The Orpheum Theatre in Vancouver looked more like a neon-lit time capsule Friday night as Aqua kicked off the first date of their Canadian tour. A sold-out crowd filled the historic room to see a band that hold so many memories. It was a reunion with the late-’90s dance-pop group that defined an era of glitter, Euro beats, and tongue-in-cheek bubblegum.
Before the strobes, the pulsing bass, and the candy-coated anthems, the show opened quietly with “Aquarius.” Lene Nystrøm walked onstage with her husband, Søren Rasted, seated at the piano. No beats. No giant cartoon visuals. Just her voice. She was visibly emotional as she sang the night’s first notes, her expression wavering between a smile and tears. It was a striking way to begin: the woman who once sang “Life in plastic, it’s fantastic” starting the night bare and vulnerable.
That didn’t last long, though. By the time René Dif bounded onto the stage for “Back to the 80’s,” the vibe flipped from tender to explosive. Dif, part frontman and part hype man, made it his mission to keep the room moving. He sprinted from side to side, threw high-fives, and at one point went in the crowd to take selfies with fans. If Nystrøm brought the heart, Dif brought the chaos. Together, they were unstoppable.
The setlist was a greatest-hits candy bag, balanced with some deep cuts for the diehards. After easing in, the group hit their early stride with “Around the World” and “My Oh My.” By then, people were dancing in the aisles. Ushers didn’t even bother asking them to back to their seats. The Orpheum had turned into a Eurodance club.
“Turn Back Time” was one of the night’s most powerful moments. Stripped back, it showed just how well Aqua could step outside their usual bounce and deliver something soulful. The darker mood carried into “My Mamma Said,” where Nystrøm’s voice soared over minimal instrumentation, drawing one of the loudest ovations of the night.
Of course, Aqua knew their audience came for the big, sugary hits. “Doctor Jones” brought a chorus of thousands shouting along to the “Doctor Jones, wake up now!” hook. “Cartoon Heroes” turned the theatre into a technicolor singalong, with Dif hamming it up like a Saturday morning cartoon villain. And yes, “Barbie Girl” arrived late in the main set, phones going up instantly. Twenty-eight years after its release, it still works.
One unexpected twist came during René’s mid-show DJ set, which acted as a bridge while the rest of the band caught their breath. It wasn’t long, just enough to keep the energy high, but it showed how seamlessly Aqua has adapted their late-’90s sound to the EDM-heavy landscape of today.
The encore sealed the deal. After “Lollipop (Candyman),” the band closed with “Roses Are Red,” their very first single. It was a perfect full-circle moment, showing that Aqua is a band with history and the kind of staying power most ’90s acts could only dream of.
Between songs, both Nystrøm and Dif shared their gratitude. They recalled playing Vancouver just last summer as part of the PNE Summer Night Concerts and spoke warmly about how Canada has always supported them.
Not everything worked perfectly. The AI-generated graphics displayed on the massive screen behind them felt out of place, like filler from a metaverse startup rather than a pop band with their own distinct visual identity.
Aqua’s story is often reduced to “Barbie Girl” and its kitsch factor, but this show made clear that their impact runs deeper. They’ve sold over 38 million albums worldwide, racked up a billion YouTube views, and last year earned Grammy nominations thanks to their collaboration with Nicki Minaj and Ice Spice. They are not a nostalgia act desperately milking one song. They’re still a global force, and their Vancouver return proved it. If this is how Aqua starts their Canadian tour, the rest of the country is in for a wild ride.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
09/09 Edmonton, AB
09/10 Edmonton, AB
09/12 Calgary, AB
09/15 Saskatoon, SK
09/16 Winnipeg, MB
09/19 Toronto, ON
09/20 Ottawa, ON
09/22 Moncton, NB
09/24 Pickering, ON
09/26 Windsor, ON
09/27 Hamilton, ON
09/28 Kitchener, ON
More info on their website.
AQUA
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: Said The Whale Celebrate 20 Years with Sold-Out Vancouver Homecoming
On Saturday, April 11th, indie hometown heroes Said The Whale brought their 20th Anniversary Tour to a sold-out Hollywood Theatre in Vancouver.
Friends, family, casual listeners and diehard fans (coined SaidHeads) packed the venue for a celebration of the band’s two decades of recording and releasing music. The band took the audience through the evolution of their seven studio albums, throwing it back all the way to Howe Sounds/Taking Abalonia (2008) to their most recent studio release Dandelion (2021). The Vancouver five-piece consists of primary songwriters, guitarists, and lead vocalists Tyler Bancroft and Ben Worcester, alongside longtime members Jaycelyn Brown (keys, vocals) and Spencer Schoening (drums), with Lincoln Hotchen on bass.
It felt like a very personal and intimate show, with the band handling their own changeover after the opener’s set before returning to the stage to a warm welcome from the hometown audience.
Said The Whale opened the show with the deep cut “Love Is Art / Sleep Through Fire”, a track that captures the group at their core—beginning with Worcester’s acoustic intro before Bancroft joins on vocals, culminating with the whole band joining in on their signature rich harmonies. The song was later released on the 10th anniversary edition of their 2009 album Islands Disappear—a track that feels almost criminally absent from the original release. Worcester’s folk-leaning songwriting continued with deep cut “Fish and Stars II” and “The Banks of the English Bay” before shifting into Bancroft’s more rock-driven tracks, including “UnAmerican,” “Camilo (The Magician),” and “This City’s a Mess,” which got the crowd on their feet. Particularly, drummer Spencer Schoening shone during these faster-paced songs, adding tasteful fills and hitting the kit with power.
The night eventually moved into the acoustic section—often a dreaded moment at shows—but for Said The Whale, it’s something they do best. Bancroft took time to applaud the opening act, Blue Jay Valley, an elementary school punk band made up of students from grades 5 to 7. Their dads even stepped in as roadies, helping clear the gear after their set. Reflecting on his own kids, Bancroft then introduced “Level Best,” a song about his unconditional love for them. It was a truly beautiful moment, and a class act as well, with Bancroft noting that while they could have chosen any local opener, they instead gave the stage to kids who genuinely deserved the opportunity.
Usually not one to take centre stage, and often the quietest presence, keyboardist Jaycelyn Brown stepped into the spotlight as Worcester and Bancroft exited, performing the beautiful acoustic piano piece “February 15,” which she dedicated to her husband. Despite a minor flubbed note, Brown kept things lighthearted, joking that at least the audience knew it was live.
During “99 to the Moon,” the rhythm section re-entered, keeping the upbeat songs coming with “Wake Up”, “Black Day in December”, “My Government Heart”, “Honey Lungs,” and the electric “I Love You.” Ending the main set, the band perfectly chose “Goodnight Moon,” with Bancroft breaking out a ukulele, and the song culminating in an all-out sing-along. In true Said The Whale fashion, the band returned to a roar of applause, slowing things down with two fitting closers, “Dandelion” and the beautiful acoustic “Curse of the Currents,” leaving fans with warm hearts as they filed out.
The best part of a Said The Whale show is the unpredictability of the setlist. Ranging from big hits to deep cuts, the experience blends familiarity with surprise, letting fans hear favourites while discovering unexpected gems. It’s always such a treat when the band plays a hometown show, and it’s an intimate experience like no other.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
SAID THE WHALE IN VANCOUVER
All Photo Credit: Hunter Soo
Concerts Reviews
LIVE REVIEW: Jackson Wang Brings MAGICMAN II’s Theatrical Spectacle to Vancouver
If you didn’t know Jackson Wang before Sunday night, you definitely left the Doug Mitchell Thunderbird Sports Centre knowing exactly who he is.
Jackson Wang is a Hong Kong-born artist who first gained international recognition as a member of K-pop group GOT7 before launching his solo career in 2017. Since then, he’s built a reputation that extends far beyond music, headlining global tours, performing at Coachella, and founding his own fashion label, Team Wang. He’s also been unusually candid about the pressures of the entertainment industry, and his 2025 album MAGICMAN 2 marked a return after a year-long hiatus, offering a more introspective and emotionally raw body of work than its predecessor.
I’ll admit I wasn’t deeply familiar with Jackson Wang‘s discography going into this show. But I’d heard the hype that his concerts were more theatrical productions than standard arena performances, and I was curious to see what all the fuss was about.
Walking into the venue last night, you could feel the energy form the fans. This was a sold-out crowd, and the devotion of Wang‘s fanbase was evident before the lights even dimmed. No opener meant all eyes were fixed on that stage from the moment doors opened. Though lightsticks weren’t permitted, fans improvised with small finger lights, creating that signature sea of glowing lights you’d expect at a K-pop show.
When the venue went dark, the screams were immediate ; the fans behind me already losing their voices. A cinematic intro played across the massive screens. The MAGICMAN II tour is structured almost like a film, divided into narrative arcs with video interludes bridging each section. Then Wang appeared, suspended mid-air on wires, a single spotlight cutting through the darkness. “High Alone” kicked off the night with him literally running in place above his dancers before descending to join them.
From there, the production only intensified. “Access” brought flames shooting from the stage, deep red lighting washing over the arena, and dancers in black with matching dark eye makeup mirroring Wang‘s MAGICMAN alter ego. The choreography was sharp, the atmosphere thick with smoke and lasers. It looked like a visual album brought to life in front of us.
The emotional turns came quickly. “Hate to Love” slowed things down as fog rolled across the stage, and by the end of the song, dancers were physically restraining Wang, pulling at his clothing until he reemerged in a mesh tank top under red light. I lived the drama of it all as Wang leaned into the theatricality of vulnerability here.
Then came the fan service. Wang invited audience members onstage (first one, then a group of four) seating them at centre stage while he and his dancers performed around them. The choreography was sensual, almost Magic Mike-esque, complete with body rolls and hip thrusts. The participants looked both shocked and thrilled, and the crowd absolutely lost it. A girl behind told her friends “I would do anything to be on that stage with him.”
Another video interlude shifted the mood again. Onscreen, Wang appeared in crisis, drinking heavily, breaking down emotionally, his dark alter ego looming. When he returned to the stage in a loose, straitjacket-inspired white outfit, it was clear we’d entered the most introspective portion of the night. “Blue” and “Everything” hit hard, with dancers floating around him in slow, fluid movements. For “Dopamine,” he asked the audience to raise their phone (and finger) flashlights. It was genuinely beautiful.
The hip-hop segment that followed brought the high energy back up. Wang and his dancers returned in baggy sweats and baseball caps, launching into “BUCK,” “Let Loose,” “TITANIC,” and “GBAD.” “Get your fucking ass up, Vancouver. You guys worked hard, you deserve to fucking have fun!” he told us before the bass dropped. The crowd obliged right away.
A nearly ten-minute video monologue preceded the final act, featuring behind-the-scenes footage and Wang reflecting on his year away from music, reconnecting with himself, with his parents, with what actually matters. When he returned to perform “Sophie Ricky,” a ballad dedicated to his parents, childhood photos flickered across the screens in a tender and earnest moment.
The encore was less a traditional finale than a full-blown afterparty. Green lasers flooded the venue, and Wang, living up to his party man reputation, went down in the pit and pulled fans onstage. For nearly thirty minutes, the arena became a dance floor. His parting message was simple: be yourself, and cherish the people around you.
Walking out into the night, I understood the devotion. Jackson Wang shared a raw version of himself with us during this show. And that kind of honesty, wrapped in this much spectacle, is rare.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming MAGICMAN II tour dates:
04/08 Rosemont, IL – Allstate Arena
04/10 Brooklyn, NY – Barclays Center
04/12 Toronto, ON – Coca-Cola Coliseum
More information via Ticketmaster.
JACKSON WANG IN VANCOUVER
All Photo Credit: Caroline Charruyer