Concerts Reviews
LIVE REVIEW: Joji’s Solaris Tour Makes an Impact in Montreal
For an artist whose music thrives on intimacy, melancholy, and emotional vulnerability, Joji’s concert at Montreal’s Centre Bell on June 20th, 2026 was no exception to these themes. With the size of the venue, holding roughly 16k fans for a concert, it is tough to set a scene intimate enough to make the room feel close and personal, but Joji seemed to pull it off with a polished ease. Supporting acts Nate Sib and Corbin also contributed to the evening’s tone. Their performances helped establish the night’s mood while introducing the audience to emerging artists whose work shares similar lyrical moods and music style with Joji’s discography. By the time Joji took the stage, the Centre Bell crowd was fully engaged and erupting in cheers from the moment the lights went down.
The Montreal stop came early in Joji’s highly anticipated Solaris Tour, a massive North American and European run supporting his latest album Piss In The Wind. Longtime fans could tell this was more than just a regular tour for Joji, but more so a reminder of how far he has come since emerging from internet culture as George Kusunoki Miller, the creator behind “The Filthy Frank Show” on YouTube and Pink Guy personas, before reinventing himself as one of contemporary music’s most distinctive alternative R&B voices. He even popularized the Harlem Shake dance!
Many initially viewed the transition with skepticism, assuming his musical ambitions wouldn’t reach the same heights as his online persona, but instead, Joji steadily established himself as a real artist, releasing acclaimed projects including BALLADS 1, Nectar, SMITHEREENS, and most recently, Piss In The Wind.
His music blends alternative R&B, lo-fi production, electronic textures, and pop songwriting, creating a distinctive sound that is deserving of the success he found. Today, he stands as one of the great examples of an internet creator successfully reinventing themselves as a legitimate recording artist.
By the time the lights dimmed, the smoke started pouring in the venue and the massive background screens lit up, the roar of the crowd was deafening. Joji’s strength as a performer has never been theatrics, elaborate props or choreography. Instead, he succeeds through creating an intimate scene that highlights the emotions in his music. His songs explore loneliness, heartbreak, longing, and self-reflection, themes that resonate deeply with audiences navigating similar emotions. Throughout the night, the singer demonstrated an ability to shift seamlessly between vulnerable ballads and more energetic moments, maintaining an emotional connection with the audience despite the size of the arena.
The setlist reflected the full range of Joji’s catalog while featuring the most songs from “Piss In The Wind” and “Nectar.” The show opened with a bang, with performances of “PIXELATED KISSES,” “Sojourn,” and “Ew,” then continuing with popular fan favourites including “Glimpse of Us,” “Daylight,” and “Like You Do.” After a 25 song setlist featuring some interludes, the concert closed in a powerful rendition of “SLOW DANCING IN THE DARK, ” a song that remains one oft he defining works of Joji’s career and one that transformed the Bell Centre into a sea of illuminated phone screens and a shower of confetti.
One of the night’s highlights was when Joji brought out a robot during “Last of a Dying Breed.” The robot danced next to him during the song, which added humour to an otherwise very emotional concert. During the rest of the set, Joji delivered a performance that emphasized emotion over technical perfection. His voice carried a rawness that complemented the themes of the material, particularly during quieter moments. In an era when many arena performers rely heavily on choreography or elaborate staging to maintain audience engagement, Joji’s greatest asset remains his capacity to communicate vulnerability. Other than a few props, such as the robot, a t-shirt cannon and confetti at the end of the set, Joji’s sole “prop” was the large screens behind him. The visuals were very psychedelic, putting the audience in what felt like a trance to fully convey the experience and emotions in the songs he was performing.
The Solaris Tour is not the first time Joji has performed in Montreal. His performance at Osheaga Music Festival in 2019, and in 2022 at MTELUS (a much smaller venue than Centre Bell) largely helped him establish a fanbase in Montreal. Throughout the night, fans sang every lyric, reinforcing the idea that Joji’s music functions as more than entertainment; for many listeners, it serves as a way to cope with deeply personal experiences and as a reminder that they aren’t dealing with these experiences alone.
As the final notes faded and fans slowly made their way toward the exits, many stopping to pick up merch before they left, the atmosphere showed that Montreal had witnessed more than a routine tour stop. Despite Montreal’s show being one of the first stops, the Solaris Tour already proved itself one to be not necessarily polished in the way a usual arena performer’s elaborate set is, but designed perfectly to represent what each song’s meaning calls for. As the tour continues, audiences can expect a production that combines captivating visuals, emotional songwriting, and a performer who continues to redefine expectations the public sets on him. For Montreal fans, the concert on June 20th, 2026 offered a compelling reminder of Joji’s unique ability to transform deeply personal music into a communal experience—one capable of filling an arena while still leaving you feeling like you were the only one in the crowd.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
JOJI
NATE SIB
All Photo Credit: Ashley Bellam
Concerts Reviews
LIVE REVIEW: ARTMS Close ‘Art of BLUE BLOOD’ North American Tour With a Bang in Vancouver
Vancouver got the final North American stop of ARTMS’ Art of BLUE BLOOD tour on October 27, and the five-member group made sure to leave a strong impression before heading to Europe in November.
With no opening act, the evening belonged entirely to HeeJin, Kim Lip, JinSoul and Choerry, who brought a full-scale production and plenty of personality to the Vogue Theatre. HaSeul was absent from the tour as she continues recovering from surgery. Her presence was missed, but the remaining four members made the most of their time onstage, delivering a show that never felt like it was working with a smaller lineup.
This was my first time seeing ARTMS live, and I came in as a relatively new fan. I had discovered the group through the ridiculously catchy ‘Virtual Angel’, which quickly made me curious about what else they had to offer. Walking into the Vogue, I was hoping the live show would match what had drawn me to the music in the first place. It did, and then some.
For the newbies like me, ARTMS is made up of five former members of LOONA. Following LOONA’s legal dispute with their former agency, BlockBerry Creative, the members went on to begin a new chapter under MODHAUS, officially launching ARTMS in 2024. The name draws inspiration from NASA‘s Artemis program as well as the Greek goddess Artemis and represents a fresh start for the five artists, who have continued building on the musical identity and creative history they developed with LOONA. Their connection to their former group remains an important part of their story, with LOONA songs still finding a place in their live performances.
The group opened with ‘Hyper Crush’, ‘BURN’ and ‘Blue Blood’, immediately setting the tone with sharp choreography, strong vocals and polished production. The set moved through several different sections, giving the concert a sense of progression rather than feeling like one long string of performances. ‘Candy Crush’, ‘Verified Beauty’ and ‘Sparkle’ kept things moving before the members took turns stepping into the spotlight for individual performances.
The solo section was a welcome change of pace. HeeJin (and her guitar) performed ‘sAvioR’, followed by Kim Lip taking on her former LOONA solo track ‘Twilight’. The two then joined forces for a dance cover of S.E.S.’s ‘Be Natural’. JinSoul brought back another LOONA favourite with ‘Singing in the Rain’, while Choerry performed ‘Eclipse’. JinSoul and Choerry later teamed up for Abir’s ‘Tango’.
For newer listeners like myself, these performances offered a good introduction to the members’ individual personalities and musical backgrounds. For longtime fans, they were a chance to revisit some familiar material. ARTMS has a history that extends beyond its current identity, and the group clearly understands that its audience appreciates both sides.
The nostalgia continued with ‘Starlight’, originally by ODD EYE CIRCLE, and a special version of ‘Not Friends’. The group then returned to its newer material with ‘Icarus Gang’ and ‘Born Stunner’, followed by ‘Obsessed’ and ‘Icarus’. The production throughout was impressive, with the lighting and visuals giving each section its own character.
What stood out to me most was how much ARTMS seemed to bring to a venue like the Vogue. The choreography, staging and overall production felt bigger than the room. There was nothing about the performance that suggested the group was holding back because it wasn’t playing an arena. In fact, I could easily see this exact show scaled up to a much larger stage. ARTMS has the presence and performance ability to handle that kind of production, and I’d be curious to see what they could do with even more space.
The ments (the fan interaction breaks between songs) were another highlight. The members made a point of connecting with fanbase (named “OURII”), and the conversations gave the evening a more personal feel. One particularly fun moment came during the group photo, when they asked Vancouver fans to come up with a special pose for the occasion. The audience suggested raising their arms into a V shape, for “Vancouver”. The members took the idea one step further by adding a little body wiggle. It was silly, spontaneous and immediately became a running joke, with the girls bringing the pose back several times during their conversations.
After the main set, ARTMS returned for an encore featuring ‘Pixel Memory’ and the much-anticipated ‘Virtual Angel’. Hearing the latter live was easily one of my personal highlights. It’s the song that introduced me to the group, and seeing it performed with a room full of fans singing along made the experience even better. The group followed with ‘Air’ before closing with ‘love4eva’, a LOONA song originally performed by LOONA’s subunit yyxy. It was a fitting nod to the members’ shared history and the fans who have supported them through different chapters of their careers.
As the final North American show before the European leg, Vancouver got a memorable send-off. ARTMS delivered a production that felt ready for a much bigger stage without losing the personal connection that made the Vogue Theatre such a good setting for it. I may have come in as a new fan, but I left with a much better understanding of what makes this group worth watching. And if this is what ARTMS can do in a theatre, an arena show should be something special.
For more information about ARTMS, click here.
Check out our favourite photos of the show below or head to our Facebook page for the full gallery!
ARTMS IN VANCOUVER
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: Phoebe Bridgers has Vancouver Believing in Magic on The Lost Tour
As someone who is chronically online and on their phone 24/7, I expected to feel that missing weight in my pocket all night, but I didn’t. In fact, I was surprised by how little I cared about not having it. Phoebe Bridgers brought The Lost Tour to Vancouver for a sold out show on October 24th, and for once (as someone who works in content marketing), instead of worrying about if I got enough content or if I should be filming, I was able to just watch and be present.
Walking into the arena and seeing the stage setup for the first time was such a surreal experience. Like a lot of the people who are chronically online, I’ve seen all the sketches and animations people have made after going to the show, but seeing it in person still had me in awe.
I’ve loved Phoebe’s music for as long as I could remember, and I still have vivid memories of trying to get the hang of guitar tabs by learning “Funeral.” This was my second time seeing her live, my first time being when she opened for Taylor Swift on the Eras Tour in New Jersey with Gracie Abrams. So finally getting to see her headline her own arena show was a big deal for me to say the least.
Alex G took the stage first and to be completely honest, I was quite confused when he started going on a tangent about how “life is like a puzzle” and then kept taking a moment between his songs to ask if anyone in the audience was named “The Edge” or had the middle name “The Edge.” Towards the end of his set, he took a moment to thank every person on his team, from his band mates on stage, to his tour manager, to the bus drivers which I thought was super sweet.
Between his set and Phoebe’s, the crowd started the wave and I’ve never seen a wave go on for that long. People were also waving at each other from across the arena with their glow sticks and lighters. It was so cute to notice little things like that, and I ended up chatting with people I probably wouldn’t have talked to if we all had our phones to scroll on.
If I had to try and sum up the entire night in two words, they would be nostalgic and ethereal. Not in a “I feel like a kid again” way, but every aspect of the show felt intentional and familiar, and also kind of like I was at Science World (or the idea of it at least). The top of the show started by drawing everyones attention to the b-stage as “The Outside” played, before the dome (reminiscent of both that one episode of sponge bob with the marching band, and the igloo from club penguin ifykyk) on the main stage lifted to finally reveal her as “Motion Sickness” started to play. The whole thing was very wizard of oz-esque.
For the first bit of the show, I was in awe every time the dome and projections shifted. Some of the visuals looked like they came straight out of the early 2000s Barbie movies, and there were round things projected in the dome, like an eyeball, a rubber band ball and a baseball, that reminded me of the I Spy books from elementary school. When the lights went red for “Garden Song,” with the mountains from Punisher on the backdrop, I thought the screaming couldn’t get any louder. Boy, was I wrong. (I still don’t have my voice back as I’m writing this and I blame “I Know The End.”)
The thing that surprised me most was that literally everyone knew every word. Her songs are so personal, but they’re also so vivid that everyone gets something different out of them. During “Garden Song” and “Moon Song,” I kept thinking about how everyone in that room probably had their own completely different relationship with those songs.
You could also tell right away how close she is with her band, and how much she loves being on tour. She can totally hold the stage by herself, but the band added so much. The bass and all the extra instruments made songs I’ve heard a million times feel new again, and with how unique her music already is, that was really cool to hear.
When she played “Still Standing,” I was taken aback not only by how stunning her production was and how I didn’t even know light could look like glitter and also pixelated, but also by how absolutely silent the arena was, especially considering it was a sold out show.
She might’ve belted out “You don’t have to believe in magic” but it was precisely that exact moment that had me believing in magic. Her production team, set designers, lighting designers, band, everyone involved in this show deserve all the flowers. The lighting for every song was perfectly designed, and never felt repetitive. There was a moment in particular when she first steps out onto the B stage in a white version of the lace dress she wears, and under the black light she is just glowing. Her hair, her glitter tears, her dress, (all the white shirts in the audience too) and her piano, as the stage slowly spun. The transitions between all the songs were immaculate (and devastating in the most beautiful way). I also have to give a nod to her photographers. The photos that she’s put out of this tour perfectly encapsulate the magic of how it felt to be there (shoutout Matt Grubb & Wes Ellis). There was also a moment where everyone sang happy birthday to Connor, one of her band members and they brought out a cake, just to have Phoebe joke about “Steve Aoki-ng” someone in the pit, or better yet, reversing it and letting someone smash the cake in Connor’s face, which was a silly switch up between the most beautiful performances of the most devastating songs ever.
Anyone who knows me knows how much I love “Waiting Room.” It’s sat in my top five most-played songs for years. Back at MetLife, Phoebe introduced a song by saying she’d written it when she was younger, and I was sure that was my moment. It turned out to be “Georgia,” which I was more than happy with, but knowing she isn’t the biggest fan of “Waiting Room,” I’d mostly made peace with never hearing it live. When those first chords rang out at Rogers Arena, I could hardly believe it. The room never let up for a second, all 36 times we sang “know it’s for the better.”
Then came a solo debut of boygenius‘ “Revolution 0.” When she pulled out an iPad with the lyrics on it, I started to get nervous, in the best way. When she told us she’d never played it live on her own before, I knew we were getting something special.
The encore closed the night the only way it could have. As “Scott Street” wound down, the arena lit up and thousands of people swayed together, arms waving, eyes fixed on the stage. I’ve never seen a crowd that excited. I tend to forget the details of concerts after a while, but I’m certain this is one I’ll remember. And not because I have videos to look back on. Getting to hear songs from Lost Weekend live has just reaffirmed my thoughts that she’s a genius. She’s still writing songs that feel new and even more experimental, and somehow, are just as good as the ones I’ve had on repeat for years.
For information and upcoming dates on The Lost Tour 2026, head to phoebebridgers.com.
Author: Jorina Lee