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Concerts Reviews

Korn Turn Rogers Arena Into a Nu-Metal Revival on Kanada Tour

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On October 1, Vancouver’s Rogers Arena was packed with fans ready for a night of heaviness, nostalgia, and pure catharsis. Korn’s rolled into town for the last date of the Kanada Tour 2025, marking 32 years since the Bakersfield band first rewired heavy music with their self-titled debut. With Loathe and Gojira in the opening slots, the lineup promised no filler for the last night of this Canadian leg.

Loathe @ Rogers Arena in Vancouver on October 1, 2025

Liverpool’s Loathe opened with a storm of layered riffs and grinding grooves. Their brand of atmospheric heaviness veers from crushing to hypnotic, and it hooked the early crowd right away. By the end of their set, cheers rolled through the arena with the kind of enthusiasm usually reserved for bigger names. For many in the building, Loathe was a new discovery, and they left Vancouver with more than a few new converts.

Gojira @ Rogers Arena in Vancouver on October 1, 2025

Then came Gojira, and if Loathe cracked the ice, the French quartet shattered it. Bathed in pyro and smoke, they launched into their set with the kind of precision and ferocity that’s made them one of the most respected bands in modern metal. Frontman Joe Duplantier prowled the stage with volcanic intensity, his growls cutting through walls of sound that seemed big enough to shake the rafters. Flames shot skyward during “Flying Whales,” while “Mea Culpa (Ah! Ça ira!)” drew one of the loudest reactions of the night after their amazing Olympics 2024 performance. Duplantier’s defiant anti-fascist message only added weight to the moment.

Korn @ Rogers Arena in Vancouver on October 1, 2025

But the night belonged to Korn. A black curtain cloaked the stage as the first rumble of “Blind” rolled out. Jonathan Davis asked the question he’s been asking audiences for decades: “Are you ready, Vancouver?” And Vancouver absolutely was. When the curtain dropped, the floor erupted into chaos with circle pits and bodies jumping. There is nothing like watching a bunch of people dressed up as corn in a mosh pit!

The setlist was built like a greatest hits package, mixing staples with deeper cuts. “Twist” and “Here to Stay” kept the energy pounding early, while “Got the Life” pulled the crowd back into the wild energy of the late ’90s. Davis moved between guttural roars and vulnerable melodies with ease.

Bagpipes signaled “Shoots and Ladders,” which morphed into a little bit of Metallica’s “One,” a mashup that drew cheers. Later, “Coming Undone” bled into Queen’s “We Will Rock You,” an unexpected twist that had every voice in Rogers Arena chanting along. These playful mashups kept the nostalgia from feeling stale, giving the set flashes of reinvention.

Visually, the show was a feast. Light beams swept the crowd during breakdowns, lasers hit like lightning, and the stage was constantly bathed in violent bursts of color. Davis, part preacher and part ringleader, stalked the stage with his trademark mic stand, while Munky and Brian “Head” Welch delivered riffs that felt as heavy as they did decades ago. If anything, the band leaned into the theatrical side of their catalog but still keeping the grit.

Korn @ Rogers Arena in Vancouver on October 1, 2025

The encore was a masterclass in dynamics. It opened with “4U,” as a tribute to Ozzy Osbourne, a brief and tender reminder that Korn’s catalog isn’t just about rage, before plunging straight back into the darkness with “Falling Away From Me” and “Divine.” By the time “Freak on a Leash” detonated as the closer, the crowd was screaming along with Davis.

Walking out of Rogers Arena, ears ringing and shirts damp with sweat, it felt like a reunion with the soundtrack of adolescence for many in the room. Thirty-two years in, they haven’t softenedand have kept the heaviness that made them a household name in the first place.

Loathe brought discovery, Gojira brought fire, and Korn brought nostalgia. Together, the triple bill made Vancouver feel like the centre of the heavy music universe for one night.

Check out our favourite photos of the night below or head to our Facebook page for the full gallery!

KORN

GOJIRA

LOATHE

All Photo Credit: Caroline Charruyer

Concerts Reviews

LIVE REVIEW: Halestorm in Buenos Aires: A Mountain of Hard Rock

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Halestorm Buenos Aires 01

Halestorm, the hard rock band hailing from Pennsylvania returned to Argentina after a decade to launch their latest studio album, titled Everest. The event took place this past March 29 at the Teatro Gran Rivadavia in Buenos Aires.

The night began calmly; the audience trickled in slowly, likely due to the numbered seating, which encouraged many to enter at the last minute. However, as always, the most die-hard fans were inside the theater early. From that same section, and in the absence of a support band, a group of fans spontaneously began singing several of the band’s choruses in unison, delivering impressive vocal performances.

Halestorm in Buenos Aires – Photo by Tute Delacroix

At 9:00 PM, with surgical precision, the first to appear on stage was Arejay Hale (drums), followed by Josh Smith (bass) and Joe Hottinger (guitar). Finally, the frontwoman, singer, guitarist, and keyboardist, Lzzy Hale, made her entrance.

They chose to open with their 2009 debut single, “I Get Off.” They followed up with two more classics, “Love Bites (So Do I)” and “I Miss The Misery.” After these three tracks, it was clear that both the band and the audience were ready to give it their all.

Halestorm continued the set with “Watch Out!” from their latest album, followed by “Black Vultures” from the Vicious LP. Once finished, Lzzy addressed the crowd to recall the band’s participation in the 2025 Black Sabbath tribute in Birmingham. She asked the audience to raise their hands with the classic “metal horns” in memory of Ozzy Osbourne, leading into a cover of “Perry Mason.”

Halestorm in Buenos Aires – Photo by Tute Delacroix

After a massive round of applause, the Americans continued presenting tracks from their new album with “Shiver.” Then—with a dedication from Lzzy to the women in the house—they played “Like a Woman Can,” closing the trio of new songs with “I Gave You Everything.”

At the midpoint of the concert, Lzzy took the mic to sing a fragment of “Familiar Taste of Poison,” showcasing her incredible range and clean high notes, before seamlessly transitioning into “Rain Your Blood On Me.” This highlighted her grittier, “broken” vocal style, proving her immense versatility as a singer.

After a brief break for the rest of the band, Arejay Hale took the spotlight for a drum solo that included his signature giant sticks. The band then returned for “Back From The Dead” and “Wicked Ways.”

Halestorm in Buenos Aires – Photo by Tute Delacroix

The set continued with “K-I-L-L-I-N-G” and “Uncomfortable.” True to the song’s title, the beginning of the latter was the only moment where Lzzy seemed slightly “uncomfortable,” possibly due to a sound issue or a brief memory lapse with the lyrics—nothing serious, and it was resolved within seconds. They closed the main set with the title track of their new album, “Everest.”

After a few minutes of the crowd chanting for more, the band returned with “Freak Like Me,” a true anthem that had the “Freaks” (as the fans are called) jumping in unison. To wind down the night, they opted for “Fallen Star” and the ballad “Here’s To Us,” during which Lzzy Hale donned the Argentine national jersey with Lionel Messi’s number 10.

Halestorm in Buenos Aires – Photo by Tute Delacroix

Thus, Halestorm concluded their third visit to Argentina, delivering a solid, polished, and high-energy show with top-tier sound. They gave their all to both long-time fans and the many new ones in attendance. Hopefully, we won’t have to wait another 10 years to see them again.

Words by Martin Cervetto
Photos by Tute Delacroix (@tutedelacroix)

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Concerts Reviews

LIVE REVIEW: Evan Honer Turns the Commodore Into a Living Room Singalong

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Evan Honer

On March 30, 2026, Commodore Ballroom felt less like a historic venue and more like someone’s packed house party with Evan Honer at the centre of it all.

The night opened with Sam Burchfield, whose warm, rootsy set eased the crowd in. His style leaned into folk and Southern textures, setting a tone that fit neatly with what was coming next.

Honer’s rise still feels a bit unreal when you line it up. A few years ago, he was balancing college life and Division I swimming. Then his cover of “Jersey Giant” by Tyler Childers exploded online, pulling in hundreds of millions of streams and flipping his life overnight. Fast forward to now, and he’s running his own label, recording out of a garage studio, and touring internationally with a catalogue that keeps growing.

That momentum showed up immediately on stage. Honer kicked off his set with a burst of energy (and yes, a backflip!) setting the tone for a night that bounced between chaos and quiet reflection. Backed by a 5-piece band, he moved easily between acoustic moments and full-band arrangements, switching guitars and moods easily.

A big part of the set leaned on his latest album, Everything I Wanted, which marks a shift in his sound. The Americana roots are still there, but there’s a stronger pull toward indie pop and mainstream country. Tracks like the title song turned into full-on crowd moments, with the audience shouting back every word.

What stood out most was how little it mattered whether a song was new or old. Fans knew everything. Tracks from West On I-10 landed just as loudly as newer material, and songs like “Foolin’ Ourselves” and “Too Far Gone” felt like staples rather than throwbacks.

Mid-set, Honer slowed things down and stripped it back. Alone on stage, he played “Brother” and “Mr. Meyers,” both heavy, personal songs. You could feel the room quiet. It’s a risky move in a high-energy set, but it paid off.

He didn’t let things stay heavy for long with “Jersey Giant.” It’s still the song that introduced him to a massive audience, and live, it feels like it belongs to both him and the crowd now.

The encore leaned unexpected, with a cover of “Sugar, We’re Goin Down” by Fall Out Boy that somehow worked perfectly. Honer closed with “IDK Shit About Cars,” sending the room out on a high.

Beyond the music, the night carried a bit more weight. Honer has partnered with PLUS1, with $1 from every ticket supporting the Schizophrenia & Psychosis Action Alliance. It’s a small detail, but it adds context to an artist who clearly thinks beyond the stage.

Check out our favourite photos of the night below or head to our Facebook page for the full gallery!

Upcoming Tour Dates:
March 31 – Seattle, Wash. @ Showbox
April 1 – Portland, Ore. @ Crystal Ballroom
April 3 – San Francisco, Calif. @ The Fillmore
April 4 – Los Angeles, Calif. @ El Rey Theatre 
April 5 – San Diego, Calif. @ The Observatory North Park
April 7 – Flagstaff, Ariz. @ Orpheum Theater
April 10 – Tucson, Ariz. @ La Rosa
April 11 – Phoenix, Ariz. @ The Van Buren
April 15 – Tulsa, Okla. @ Cain’s Ballroom
April 16 – Dallas, Texas @ The Echo Lounge & Music Hall
April 18 – Georgetown, Texas @ Two Step Inn
More information on Evan Honer’s website.

EVAN HONER

SAM BURCHFIELD

All Photo Credit: Caroline Charruyer

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