Concerts Reviews
LIVE REVIEW: Lost Americana Finds a Home in Vancouver as MGK Hits With Fire, Heart, and Volume
Machine Gun Kelly has spent the better part of a decade refusing to stay in one musical lane, and his stop at Rogers Arena in Vancouver on June 29 proved that he’s no longer interested in explaining himself. The Lost Americana Tour doesn’t try to convince anyone that rap, pop-punk, alternative rock, country influences, and arena spectacle belong together. It simply throws them all on stage and dares you to keep up.
Before MGK appeared, Emo Nite warmed up the crowd with the kind of party they’re know for. Mod Sun followed with a set full of his usual infectious energy and charisma, bouncing between pop-punk hooks and hip-hop swagger while keeping the arena moving before the night’s main event.
One noticeable absence lingered over the evening. MGK explained more than once that his usual tourmate, Wiz Khalifa, had been unable to cross the border and wouldn’t be performing in Vancouver. He admitted it added pressure to his own set, since Wiz normally joins him during several songs, but hoped the crowd was still ready for a great night. Judging by the roar that followed, Rogers Arena wasn’t about to let him carry that weight alone.
The stage itself immediately set the tone. Dominating the production was an enormous Statue of Liberty head, complete with a cigarette hanging from its mouth beneath the glowing “Lost Americana” sign. It was a striking visual that matched the album’s themes of rebellion and search for identity. It looked fantastic, especially once the pyrotechnics, towering video screens, and relentless lighting package came to life.
MGK emerged from the Kabuki drop to open with “FIX UR FACE” and “Outlaw Overture,” wasting little time before launching into newer material including “Starman.” Those songs carried the early stretch of the show. Lost Americana borrows from every chapter of his career, and that’s exactly how the concert unfolded. Early in the set, he welcomed American singer-songwriter Honestav to the stage for a surprise duet that drew one of the night’s loudest reactions. It was an unexpected moment that fit perfectly with the free-flowing nature of the show.
Between songs, MGK dropped the rockstar persona long enough to share something more personal. Despite performing since he was 16 years old, he admitted he still gets nervous before every show, wondering if people will actually show up. Looking around Rogers Arena, he said it still amazes him that after playing amphitheatres for months on this tour, he now gets to headline arenas like this one.
That honesty has become part of MGK‘s appeal. One minute he’s slinging a guitar across his shoulder and leading an arena-sized singalong. A few songs later he’s back in full rapper mode, firing through verses with the confidence that first made his name. Instead of feeling scattered, the shifts felt natural. At this point, the different versions of MGK have stopped competing with one another. They’ve become part of the same artist.
Visually, the show rarely slowed down. Fire erupted across the front of the stage during the heavier songs, dancers filled nearly every transition, and air cannons arrived exactly when they needed to. It would have been easy for the production to overshadow the music, but MGK remained the focal point throughout. He sprinted from one side of the stage to the other, climbed platforms, leaned into the barricade to greet fans, and constantly challenged the audience to match his energy.
One of the evening’s most memorable moments came during “Can’t Stay Here,” when thousands of phone lights illuminated Rogers Arena, transforming the venue into a sea of stars. The massive production suddenly gave way to something quieter, with the audience becoming just as important to the atmosphere as the stage itself
One of the smartest decisions in the set came midway through the show when MGK left the main stage for a smaller platform deeper inside the arena. The production suddenly shrank, replacing explosions with something much quieter. Songs like “Glass House” carried a vulnerability that often gets buried beneath the fireworks. In those moments, Rogers Arena felt surprisingly intimate despite the crowd size.
The emotional swings have become part of MGK‘s identity. He can spend one song encouraging crowdsurfing before turning around to deliver deeply personal lyrics that leave the arena almost silent. It shouldn’t work as well as it does, but somehow it always finds its balance.
There was plenty of humour mixed into the chaos. During “Everything Tatted,” MGK spotted a fan holding a sign announcing she had “FIX UR FACE” tattooed on her backside. The cameras immediately found her, and when she proudly revealed the tattoo, the arena erupted with laughter and applause while MGK could only shake his head in disbelief while smiling.
The covers landed just as well. His version of “Mr. Brightside” instantly became one of the loudest singalongs of the evening, proving that some songs have taken on a life of their own inside concert arenas. It was one of several moments where MGK stepped back and simply let the audience carry the performance.
The celebration continued during “My Bloody Valentine,” when roughly twenty female fans were invited onto the stage to dance alongside him. The standout among them was an energetic six-year-old girl who completely stole the spotlight, confidently dancing across the stage and earning one of the biggest ovations of the night.
Before launching into “My Ex’s Best Friend,” MGK paused to remove his shirt, joking, “I know Canadians can say sorry, but can you please?” as he tried to squeeze a little more noise out of the audience. Judging by the response, they were more than happy to oblige.
What continues to separate MGK from many of his peers isn’t that he blends genres. Plenty of artists do that now. It’s that he fully commits to every version of himself without apologizing for the contradictions. He’s still a rapper. He’s still a rock frontman. He’s still willing to lean into melodic pop songwriting. Rather than smoothing those edges out, the Lost Americana Tour puts them all under the same spotlight.
Closing with “Vampire Diaries,” MGK capped off nearly two hours that rarely lost momentum. Loud, theatrical, emotional, and occasionally chaotic, the show never felt interested in perfection. It aimed for something much more entertaining. Rogers Arena got a performance that embraced every corner of MGK‘s career, delivering a night that felt unpredictable from start to finish.
Whether fans came for the rap records, the pop-punk era, or the newest material, there was very little chance of leaving disappointed. MGK has become one of modern arena rock’s most unpredictable performers, and Lost Americana makes a strong case that his refusal to fit neatly into one genre is exactly what keeps his live shows so compelling.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
MGK
MOD SUN
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: The Red Clay Strays Bring the Grateful Tour to Rogers Arena
The Red Clay Strays brought their Grateful Tour to Vancouver on August 30, supported by Wyatt Flores and Sweet Talk. I’ll admit it: before Sunday night, my familiarity with The Red Clay Strays went about as far as “Wondering Why.”
I knew the Alabama band had become one of the fastest-rising names in country and Southern rock, and I knew Brandon Coleman had a reputation for being the kind of frontman people compared to Elvis Presley, Johnny Cash and just about every other cool guy to ever stand behind a microphone. But there is always a risk when walking into a show knowing only the hit. Sometimes you spend the night waiting for the one song you recognize, but that was not the case at Rogers Arena.
Sweet Talk and Wyatt Flores got things going, giving the night a strong foundation before the headliners took over. Flores, in particular, already had plenty of fans in the building, and his set helped get the arena moving early. By the time The Red Clay Strays walked onstage, the room was ready.
The band opened with “Demons in Your Choir,” immediately showing why its sound has connected with so many people. The Red Clay Strays do not sit comfortably inside one genre. There is country in their music, obviously, but there is Southern rock, gospel, blues and plenty of old-school rock and roll mixed in. Trying to neatly categorize them feels a little beside the point.
What stood out most to me was how little the band seemed interested in playing up the scale of the room. 18 months ago, they were playing 2 sold out shows at the Commodore Ballroom, making the jump to Rogers Arena in 2026 pretty striking. Rogers Arena is a massive space, and this is the biggest kind of stage The Red Clay Strays have started playing regularly. But they never felt like they were trying to become a generic arena band overnight.
Of course, Coleman is hard to ignore. The Elvis comparisons make sense on a surface level: the pompadour, the old-school style and the way he moves around the stage all bring those comparisons to mind. But the more I watched him, the less useful those comparisons became. Coleman has his own way of commanding a stage, and his voice is the real deal.
There were several moments throughout the night when he let loose on a note and cut through everything around him. It was not polished in a way that felt overly perfect, either. There was grit in his voice, and sometimes a little roughness, which made the stronger moments hit harder.
The band moved through songs including “Stone’s Throw,” “Walking Away,” “Devil in My Ear,” “Ghosts” and “People Hatin’,” with the musicians remaining impressively tight throughout. They have reportedly been playing together in one form or another for years, and that connection was easy to see.
When it was time for “Wondering Why,” Rogers Arena predictably lost its mind. The opening moments were enough to turn the audience into one enormous singalong, and one of those goosebump moments. Even as someone who came into the show with limited knowledge of the band’s catalog, I could not help but get caught up in it. Thankfully, the show did not lose momentum after its biggest song. In fact, I found some of the strongest material came later.
“Drowning” and “I’m Still Fine” gave Coleman some of his best vocal moments of the night, while “Moments” slowed things down without killing the energy. That is not always easy in an arena show. The quieter songs can sometimes disappear in a room that size, but the audience stayed with them.
One of the evening’s most memorable moments came before the band launched back into the set when one of their three touring backing vocalists stepped forward to sing “O Canada.” She told the crowd that she regularly performs national anthems at NHL games and had always hoped to sing Canada’s anthem in Canada. The Rogers crowd loved it.
They ended with “Fool’s Gold,” “Wanna Be Loved,” “Grateful” and “No One Else Like Me,” sending the crowd home after a generous and well-paced set.
The Red Clay Strays are clearly in the middle of a major rise. Their Grateful Tour has taken them into some of the biggest venues of their career, and the rooms will probably keep getting bigger. The good news, at least based on what I saw in Vancouver, is that they have not lost the thing that got them here.
Head here for more information about The Red Clay Strays’ Grateful Tour.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
THE RED CLAY STRAYS
WYATT FLORES
SWEET TALK
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: Luke Bryan Turns a Thursday Night in Ottawa Into a Country Party
People were already dancing and cheering as they walked to the line at the Canadian Tire Centre. That was probably the first sign that Luke Bryan’s Word On The Street Tour stop in Ottawa wasn’t going to feel much like a Thursday night.
Drew Baldridge got the night started while the arena was just starting to see people on their seats, but you wouldn’t have known it from watching him. He and his band played like the seats were already full. Covering Shania Twain’s “Man! I Feel Like a Woman!” was also a pretty foolproof way to get an Ottawa crowd warmed up.
Lauren Watkins came next. Cowboy hats were becoming harder to avoid, people were starting to groove, and the arena was noticeably filling up. Like Baldridge before her, Watkins wasn’t trying to reinvent country music. She was there to celebrate it.
Then Lanie Gardner came flying out in sunglasses with a band that looked like they had collectively decided it was still 1993, and it worked. They hit hard from the start, and Gardner had the advantage of playing to an arena that was now getting close to what it would look like for the headliner. People were louder, drinks were flowing, and it finally felt like Luke Bryan was next.
Except he wasn’t. Not quite yet. Bryan was a little late getting onstage, so a DJ was tasked with keeping a packed Canadian Tire Centre entertained. Instead of killing the momentum, it turned the wait into its own little party. By the time the lights finally went down, people were more than ready.
And when he finally came out, the noise was unreal. The Canadian Tire Centre looked packed. For a Thursday night in Ottawa, that alone was impressive. When Bryan started playing, everyone in the building seemingly knew every word. That’s the difference between knowing someone has a lot of hits and actually seeing what those hits do to an arena.
Bryan has been one of the biggest country artists of his generation for long enough that these songs belong to his audience almost as much as they belong to him. There were moments where he could have stopped singing entirely and the show probably wouldn’t have missed a word.
The band deserves just as much credit for how good the night sounded. Everyone on that stage could play. The guitars were huge, the rhythm section hit hard, and the banjo or slide guitar rang through the entire arena in a way that was impossible to ignore.
Nothing about the show needed to be complicated. Luke Bryan showed up with a killer band, a ridiculous number of songs people knew by heart, and an arena full of fans who wanted to party. Sometimes that’s enough.
Actually, judging by the noise inside the Canadian Tire Centre, it was more than enough.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
LUKE BRYAN
LANIE GARDNER
LAUREN WATKINS
DREW BALDRIDGE
All Photo Credit: Gonzo Wassermann