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
Concerts Reviews
LIVE REVIEW: Black Veil Brides Close Out the First Leg of the Vindicatour in Dominant Fashion
One of modern rock’s most influential bands made their return to the Washington, D.C. area on May 29th, bringing a night full of nostalgia, energy, and some of the strongest material of their career. The Black Veil Brides brought the Vindicatour to The Fillmore in Silver Spring, joined by From Ashes to New, TX2, and As December Falls, for a stacked lineup that kept fans on their feet from the first note of the night until the final encore.
The evening began with a milestone performance for British rock outfit As December Falls. The tour marks the band’s first run through the United States, and they wasted no time making an impression on the Maryland crowd. Opening with “Carousel,” the band immediately brought an infectious groove to the stage. Their blend of soaring vocals, heavy guitars, and catchy hooks proved to be the perfect way to kick off the night.
Frontwoman Beth Curtis commanded the stage with confidence well beyond that of a band making its American touring debut. Songs like “Mayday” showcased the group’s ability to balance heaviness with melody, while the audience continued to grow throughout their set. By the time they closed with “Therapy,” it was clear that many fans had discovered a new band to add to their playlists. If this first American tour is any indication, As December Falls has a bright future ahead of them in the United States and beyond.
The energy continued to rise when TX2 took the stage. Known for their unapologetic approach to modern rock and alternative music, TX2 delivered a very energetic performance. Opening with “Feed,” they immediately had the crowd engaged as fans packed closer to the stage. Whether people came into the venue familiar with their music or not, it was difficult not to get caught up in the hype of the performance. Songs like “So Numb” had the crowd banging their heads while the band delivered a relentless wall of sound that kept the momentum moving forward. TX2 has developed a reputation for connecting with younger rock fans, and it was easy to see why throughout their set. Their performance concluded with “I Would Hate Me Too,” a fitting closer. By the end of the set, TX2 had successfully prepared the crowd for the heavier portion of the evening.
From Ashes to New took over next and delivered a kick-ass set that proved why they are the band to see on any tour they are a part of. Opening with “New Disease” from the band’s recently released album Reflections, the Pennsylvania rockers showcased the new sound that has propelled them to heights never before seen by some of the humblest people in rock. The energy only intensified as they rolled into fan favorites “Nightmare” and “Heartache.” Matt Brandyberry and Danny Case, joined by Mat Madiro, Lance Dowdle, and Jimmy Bennett, sounded tremendous throughout the set, effortlessly switching between soaring melodies, aggressive screams, and hard-hitting rap sections. The crowd responded by singing every word back to the band.
There was an added emotional layer to the performance as the show took place close to Brandyberry’s hometown. Throughout the night, he spoke about family members being in attendance and reflected on how meaningful the evening was for him personally. One particularly moving moment came when he acknowledged the wife and son of a close friend who had passed away. The heartfelt moment injected a sense of perspective into an otherwise high-octane performance and demonstrated the strong connection the band has with their fans and family.
One of the biggest highlights of the set came when Beth Curtis of As December Falls joined the band for “Barely Breathing.” The collaboration sounded fantastic live and earned one of the loudest reactions of the night up to that point. From Ashes to New closed their set with “Panic,” bringing their performance to an explosive finish and leaving the crowd eager for what was still to come.
Finally, the moment everyone had been waiting for arrived!
As the lights dimmed inside The Fillmore, anticipation reached a fever pitch. The Black Veil Brides have spent nearly two decades building one of the most dedicated fanbases in rock music, and judging by the reaction inside the venue, that loyalty remains stronger than ever.
The band opened with longtime fan favorite “Knives and Pens,” and the reaction was immediate. Fans erupted as Andy Biersack made his way across the stage while Jinxx, Jake Pitts, CC and Lonny Eagleton delivered the massive sound that has defined Black Veil Brides for years. From the opening notes, it was clear the crowd was there for BVB.
One of the most impressive aspects of the performance was the balance between the old and new. The band showcased several songs from its newest era, including “Bleeders,” “Vindicate,” and “Revenger.” While newer songs can sometimes struggle to match the reaction of established classics, that was not the case in Silver Spring. Fans exclaimed their cheers loudly throughout the new material, proving just how well the songs have connected with the BVB community.
As always, stage presence was one of the strongest elements of a BVB show. Biersack spent much of the evening interacting with fans, reading signs, responding to comments from the crowd, and making sure every section of the venue felt involved. In between songs, audience members shouted everything from compliments to completely random remarks, creating several entertaining exchanges that kept the atmosphere loose and personal.
The interaction between the band and the audience is something that has always separated BVB from their peers. Fans were not simply watching a concert; they felt like they were part of the show itself. The second half of the set was filled with some of the biggest songs in the band’s catalog. “Rebel Love Song” transformed the venue into one massive choir as hundreds of voices joined together. “Wake Up” brought another surge of energy, with fans refusing to let the momentum slow down.
Of course, no Black Veil Brides show would be complete without an encore. The band returned to the stage for “Lost It All” before closing the evening with a fitting metaphor for the finale of a show, “In the End.” As the closing notes rang throughout The Fillmore, the crowd erupted one final time. It was the perfect ending to an exceptional night of music.
If this tour is coming anywhere near you, do not miss the opportunity to see it. Nights like this are exactly why live music remains such a special experience.
The first part of the Vindicatour ended on Saturday night in Worcester, MA. BVB will be back in the States for Part II after their trip across the pond for the summer European festival circuit.
Tickets for the Part II, starting in late August, can be purchased on the BVB website linked below. Don’t miss out!
Follow along with the band’s many adventures at their socials:
Website // Instagram // Facebook // TikTok
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
BLACK VEIL BRIDES
FROM ASHES TO NEW
TX2
All Photo Credit: Ryan Renger
Concerts Reviews
LIVE REVIEW: The Black Keys Turn Rogers Arena Into a Blues Bar on the Peaches ’n Kream Tour
For a band that spent the better part of the 2010s filling arenas with polished radio rock, The Black Keys looked strangely comfortable stripping things back at Rogers Arena on May 31. Similar to when I saw them in 2012 at the Sporthalle in Hamburg, Germany, there were no giant moving stages, no overworked visuals, no desperate attempt to remind people how massive they used to be, and even better, no phones up the whole night as the fans truly immersed themselves in the moment. Instead, the Peaches ’n Kream Tour leaned hard into something looser and dirtier.
Jeremie Albino opened the night with a set that fitted perfectly for this version of The Black Keys. The Toronto blues-rock singer walked onstage without much fuss and immediately filled the arena with a raw, raspy voice. He truly has one of the best voices I have heard in a while. Backed by a tight band that leaned into gritty Southern rock and old-school soul, Albino delivered songs with enough swing and swagger to win over a crowd that was still filing into their seats. Opening arena shows can sometimes feel like background noise while people buy drinks and hunt for merch, but Albino managed to cut through the early-night chatter.
The Black Keys walked onstage to a giant glowing band logo and immediately slammed into “Heavy Soul,” which set the tone for the next hour and a half. Dan Auerbach’s guitar tone sounded enormous all night, the kind of crunch that rattles around your chest before it reaches your ears. Patrick Carney, meanwhile, played with the same blunt-force simplicity that made the band compelling in the first place.
The current touring lineup deserves a lot of credit for why this era of the band feels rejuvenated instead of nostalgic. Guitarist Barrie Cadogan added extra muscle without crowding Auerbach, and bassist Joe Harrison locked everything together with a loose, rolling groove that kept the set from becoming too stiff. Keyboardist Ray Jacildo and percussionist Chris St. Hilaire filled out the sound with touches of soul and psych-rock shimmer that made even familiar songs feel slightly rearranged.
“Tighten Up” slowed into something smokier. “Everlasting Light” became almost dreamlike, with Auerbach stretching the melody instead of sprinting through it. Even “Gold on the Ceiling,” still one of the best arena rock songs they ever wrote, carried more grit than swagger this time around.
A lot of that comes from Peaches!, the band’s new covers-heavy record built around the Hill Country blues music that shaped them as kids in Akron. The influence ran through nearly every corner of the set. Covers like “Have Love Will Travel” and “You Got to Lose” felt central to the entire identity of the tour. The Black Keys have spent years polishing themselves into mainstream rock headliners, but this show worked hardest when they sounded slightly unkempt.
“Weight of Love” was easily one of the night’s strongest moments. Auerbach let his solos wander without overplaying, and for a few minutes Rogers stopped feeling like an arena altogether. The whole room suddenly had the atmosphere of some overheated roadside bar where the amps are too loud and nobody cares.
That feeling carried into “Lo/Hi,” which rolled with a heavy psych-rock pulse. There were moments where the pacing sagged slightly in the middle stretch, particularly when too many slower grooves stacked together, but the band always found a way to snap things back into focus before the energy drifted too far. But when they finally reached the home stretch, they absolutely unloaded.
“Little Black Submarines” still hits with ridiculous force live, especially once the quiet opening gives way to the explosion halfway through. When “Lonely Boy” closed the night, the entire arena was moving.
The biggest surprise of where The Black Keys are right now is that a lot of legacy rock bands hit this stage of their career and coast on muscle memory ; yet, The Black Keys seem to have avoided this trap. They’re clearly aware that the arena-rock peak has cooled off a bit, but instead of fighting that reality, they’ve circled back to the music that made them exciting before the Grammys, before the commercials, before “Lonely Boy” became unavoidable.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
6/3/26 – Edmonton, AB – Rogers Place
6/5/26 – Calgary, AB – Spruce Meadows – ATCO Field
6/6/26 – Calgary, AB – Spruce Meadows – ATCO Field
6/8/26 – Jackson, WY – Snow King Resort
6/9/26 – Ogden, UT – Ogden Amphitheater
6/11/26 – Stateline, NV – Harveys Lake Tahoe
6/12/26 – Las Vegas, NV – Virgin Hotels Las Vegas – The Theater
6/13/26 – Santa Barbara, CA – Santa Barbara Bowl
7/16/26 – Chicago, IL – The Salt Shed – Fairgrounds
7/17/26 – Saint Paul, MN – Minnesota Yacht Club Fest
7/19/26 – Chesterfield, MO – The Factory
7/20/26 – La Vista, NE – The Astro – Outdoor Amphitheater
7/21/26 – Oklahoma City, OK – The Zoo Amphitheatre
7/23/26 – Dallas, TX – Bomb Factory
7/24/26 – Houston, TX – Lawn at White Oak Music Hall
7/25/26 – New Braunfels, TX – Whitewater Amphitheatre
7/28/26 – Clearwater, FL – Coachman Park – The BayCare Sound
7/29/26 – St Augustine, FL – The Saint Augustine Amphitheatre
7/30/26 – North Charleston, SC – Firefly Distillery – Lawn
8/1/26 – Richmond, VA – Allianz Amphitheater at Riverfront
8/2/26 – Pittsburgh, PA – Stage AE
8/4/26 – Newport, KY – MegaCorp Pavilion
8/6/26 – Nashville, TN – The Pinnacle
8/7/26 – Nashville, TN – The Pinnacle
8/28/26 – Paris, FR – Rock En Seine
8/29/26 – Portsmouth, UK – Victorious Festival
8/31/26 – London, UK – Eventim Apollo
9/1/26 – London, UK – Brixton Academy
9/4/26 – Amsterdam, NL – AFAS
9/6/26 – Cologne, DE – Palladium
9/7/26 – Bern, CH – Festhalle
9/9/26 – Munich, DE – Zenith
9/10/26 – Milan, IT – Alcatraz
9/13/26 – Madrid, ES – Movistar Aena
9/15/26 – Istanbul, TR – KüçükÇiftlik Park
10/10/26 – Verona, NY – Turning Stone Resort & Casino
10/11/26 – Portland, ME – Cross Insurance Arena
10/13/26 – Moncton, NB – Avenir Centre
10/14/26 – Halifax, NS – Scotiabank Centre
10/16/26 – Laval, QC – Place Bell
10/17/26 – Ottawa, ON – Canadian Tire Centre
10/18/26 – Windsor, ON – Caesars Windsor
More information here.
THE BLACK KEYS
JEREMY ALBINO
All Photo Credit: Caroline Charruyer