Concerts Reviews
Halestorm and Lindsey Stirling Reach New Heights on the nEVEREST Tour in Vancouver
If anyone in Vancouver still doubts that violin and metal can share the same stage, the nEVEREST Tour put that question to rest on October 10 at Doug Mitchell Thunderbird Sports Centre. The lineup of Apocalyptica, Lindsey Stirling, and Halestorm felt like a musical science experiment gone right. Three acts that couldn’t be more different, yet somehow fit together like a perfectly distorted chord.
The night kicked off with Apocalyptica, Finland’s cello-wielding metal veterans. The lights dimmed, and the classic Ennio Morricone track “The Ecstasy of Gold” filled the arena. Metallica fans knew what was coming. Moments later, the three cellists stormed the stage and ripped into “Bettery.” You could feel the bass in your chest, but it wasn’t coming from guitars, it was the sheer power of those cellos.
They powered through a set packed with Metallica covers: “Master of Puppets,” “For Whom the Bell Tolls,” and “Nothing Else Matters.” The band has been at it since the mid-’90s, and it shows. By the time they closed with “Seek and Destroy,” the crowd was chanting along as if Metallica themselves were onstage.
Then came Lindsey Stirling, and the mood shifted from heavy to heavenly, though not in a soft way. Stirling has built a career on making the violin feel like a rock weapon, and in Vancouver, she was unstoppable. Backed by her band and dancers, Stirling hit the stage like a spark of kinetic energy in human form.
Every song had choreography, costume changes, and a story woven through it. “The Phoenix” opened the show in a swirl of lights and motion, with Stirling leaping and spinning as her bow lit up in time with the music. She mixed songs from her 2024 album Duality with fan-favourites like “Crystallize” and “Roundtable Rival.”
A highlight came when Stirling rolled out her now-famous “spin-the-wheel” segment. Fans cheered as she gave the wheel a dramatic flick to determine the night’s mystery song. Despite Stirling wanting the arrow to land on “Carol of the Bells” to fit the wintery temperature of Vancouver, it landed on deep cut “Til the Light Goes Out”. She also threw in her covers of “Sandstorm” and “Blue (Da Ba Dee),” giving both dance tracks a violin twist that somehow felt even more energetic than the originals.
Stirling’s connection with the crowd was effortless. She cracked jokes between songs, got everyone to light up their phones for “Firefly Alley,” and thanked fans for supporting her for over a decade since her America’s Got Talent days. Watching her command the stage, it’s hard to imagine anyone ever telling her she wasn’t “right for television.” She’s built an entire career proving how wrong they were.
By the time Halestorm took the stage, the crowd was already buzzing. The white curtain went up, silhouettes appeared, and then the drop. Confetti shot into the air as Lzzy Hale’s unmistakable scream cut through the noise, launching into “Fallen Star” off their new album Everest. But this show was extra special ad it was Lzzy’s birthday, and the Vancouver crowd had planned ahead.
Before the curtain dropped, the entire pit section held up signs wishing her a happy birthday, along with inflatable gold letters spelling it out across the barricade. When the lights came up, Lzzy saw it all mid-song, grinning through the opening riff as confetti rained down. The fans kept the signs raised through the entire first song, turning the arena into a giant birthday card. She called it “the best surprise I’ve ever gotten at a show,” clearly moved by the effort.
Halestorm have always been a force live, but that extra energy pushed them even higher Lzzy’s vocals were razor sharp, switching from growls to high notes with ease. Joe Hottinger’s guitar work was as tight as ever, and Arejay Hale looked like he was drumming to save his life. His mid-set solo included a battle with a giant inflatable Yeti hand (a nod to the Everest album cover), which ended with him pulling out massive drumsticks to finish the duel. The crowd loved every second of it.
The setlist leaned heavily on Everest, with “Like a Woman Can” (bringing back two Apocalyptica members on stage to add dimension to the song), “How Will You Remember Me,” and “I Gave You Everything” sitting comfortably alongside staples like “Love Bites (So Do I)” and “I Miss the Misery.” Lzzy took a moment at the piano for “Shiver” and “Break In,” her voice echoing through the arena with an intensity that silenced the chatter. You could tell she meant every word.
Then came the moment everyone was waiting for: Lindsey Stirling returned to the stage for a duet of “Shatter Me,” the track they recorded together a decade ago. The energy between them was electric: two women from different worlds sharing one song and absolutely nailing it. Stirling twirled as Lzzy belted.
Halestorm closed the night with “Here’s to Us,” toasting the crowd and each other. Confetti rained down again, this time golden, as the band raised their glasses in one final salute.
Walking out into the chilly Vancouver night, fans looked dazed in the best way, like they’d just been through three different concerts in one. That’s the beauty of the nEVEREST Tour: it’s heavy, it’s theatrical, and it’s unlike anything else on the road right now.
If you ever needed proof that metal, symphony, and performance art can live under the same roof, Halestorm, Lindsey Stirling, and Apocalyptica just gave it to you.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
HALESTORM
LINDSEY STIRLING
APOCALYPTICA
All Photo Credit: Caroline Charruyer
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