Concerts Reviews
LIVE REVIEW: One Last Wedding – Summer Walker Ends Her Tour in Vancouver
For years, Summer Walker built her career on sounding like someone caught in the middle of heartbreak. Her songs lived in messy relationships, late-night regrets and emotional honesty that made listeners feel like they were reading pages from her diary. On Friday night at Rogers Arena, she brought that chapter to a close.
The Vancouver stop marked the final North American date of the Still Finally Over It Tour, and there was a fitting sense of finality hanging over the evening. Recent comments from Walker about taking a break from touring, and even considering retirement from the road, gave the performance a little more weight. Whether this was the last time Canadian fans will see her headline an arena remains to be seen, but she certainly treated it like the end of an era.
The evening opened with a smooth set from British R&B artist Odeal, whose laid-back blend of Afrobeats, soul and contemporary R&B eased the crowd into the night. His relaxed stage presence provided a fitting contrast to the theatrical production that would follow, and he was warmly received by fans arriving early. After Odeal wrapped up, the arena kept its energy high thanks to a backstage DJ who spun a string of familiar R&B and hip-hop hits. Instead of passively waiting for the headliner, much of Rogers Arena turned into a dance party, with fans singing along and dancing in the aisles well before Summer Walker made her entrance.
Walker opened with “Finally Over It,” emerging in an white wedding gown complete with an oversized train and an elderly groom seated beside her in a wheelchair. It was dramatic, and exactly the kind of theatrical symbolism that has defined the rollout for Finally Over It. The image said everything before she even sang a note: this was both a breakup story and a farewell to one.
It didn’t take long before the dress came off, revealing a sparkling corset bodysuit underneath as the show shifted into a glamorous cabaret. That transformation became the night’s central idea.
The production was easily the most ambitious of her career. Giant velvet curtains, vintage Hollywood visuals, feathered dancers, aerial performers, fire acts and costume changes turned the concert into something closer to musical theatre than a standard R&B show. Walker clearly knew the world she wanted to build.
There were moments where the transitions stretched a little too long. Between dance numbers, wardrobe changes and theatrical interludes, the pacing occasionally lost momentum. The show sometimes seemed almost too invested in its own spectacle. Then Walker would return to the stage for “Body,” “Playing Games” or “No Love,” and the energy instantly snapped back into place.
That speaks to the strength of her catalogue. Few artists in modern R&B have assembled such a consistent run of songs that audiences know word for word. Throughout the night, Rogers Arena became one giant choir, with thousands of fans carrying verses Walker barely needed to sing herself.
That leads to one of the show’s more complicated aspects. Walker leaned on backing tracks more than some concertgoers might expect. If you’re looking for powerhouse live vocals from start to finish, this isn’t that kind of show. The emphasis was always on atmosphere, storytelling and emotion rather than technical vocal performance. It won’t work for everyone, but it felt like a deliberate creative choice rather than a limitation. It seemed to work for the audience.
Ironically, the quieter moments ended up being the strongest. Acoustic performances stripped away the elaborate staging and showed why Walker became one of R&B’s defining voices in the first place. Without dancers or elaborate props competing for attention, songs like “Session 32” landed with great intimacy.
Midway through the concert, Walker left the main stage for a candlelit banquet table positioned among the crowd. Decorated with roses and wedding décor, it transformed part of the arena into an intimate reception hall. Walking through the audience to perform “Girls Need Love,” signing autographs and stopping to connect with fans along the way, she looked remarkably comfortable. That may have been the biggest surprise of the night as Walker has spent years openly discussing her struggles with anxiety and stage fright, often avoiding touring altogether. Watching her confidently navigate the arena, smiling, interacting with fans and commanding an elaborate production felt like a victory. The growth was visible.
The burlesque influences never overwhelmed the music. Instead, they mirrored the emotional journey running through the Over It trilogy. The wedding imagery, glamorous costumes and playful choreography all pointed toward the same conclusion: heartbreak doesn’t get the final word.
Closing with “FMT,” Walker brought the evening full circle. Thousands of phone lights filled Rogers Arena, giving warmth to the final moments.
For an artist who once seemed reluctant to stand in front of an audience at all, ending her biggest tour with a production this bold felt quietly triumphant. Summer Walker may be finally over the heartbreak that inspired her music. More importantly, she seems to have found peace with the stage itself. If this truly was the closing chapter of her time as a touring headliner, Vancouver got a fitting finale.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
SUMMER WALKER
ODEAL
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: aespa Close North American Tour With a Futuristic Spectacle in Vancouver
My K-pop education continued on October 11 as aespa brought their SYNK : COMPLæXITY Tour to Rogers Arena in Vancouver. After seeing TWICE in January and IVE in August, this was my third concert foray into K-pop. I was excited to see how aespa would compare, and the answer was a little different from my first two experiences. Where TWICE brought the fun and IVE delivered its own polished pop spectacle, aespa leaned into futuristic visuals, heavy electronic production and choreography that rarely let up.
With no opening act, the stage belonged entirely to Karina, Winter, Giselle and Ningning. Vancouver marked the final stop of the North American leg before the group heads to Europe in January, making this the last chance for fans on this side of the Atlantic to see the production for a while.
There had been some concern about Giselle’s participation after she left the stage five songs into the group’s October 9 show at Climate Pledge Arena in Seattle. Thankfully, she was back in Vancouver. Both she and Winter mentioned having a cold, but you wouldn’t have known it from their performances. Neither appeared to let it get in the way, and both delivered strong performances throughout the night.
The show opened with “LEMONADE,” immediately filling Rogers Arena with heavy bass, electronic beats and futuristic visuals. The production was massive, but the sound mix occasionally worked against the group. At points, the bass threatened to overpower the vocals, which was frustrating when four singers this capable were onstage.
“Switchblade” and “Whiplash” kept the momentum going before aespa reached back to its 2020 debut single, “Black Mamba.” The choreography remained sharp, and the group’s ability to move between demanding routines and vocal passages without losing its composure was impressive. “WDA (Whole Different Animal)” brought a harder hip-hop edge, with Giselle’s rap standing out against the heavy production.
The concert was divided into five acts, with cinematic video segments building on the group’s fictional universe. The story occasionally felt like a lot to keep up with, particularly for someone who hasn’t followed every chapter of aespa‘s mythology. Still, the visuals gave the show a clear identity. The production had a narrative thread running through it.
The second act offered a welcome change of pace. Karina introduced “Count on Me” on a piano, leading into a softer arrangement that let the members’ voices take centre stage. “Camouflage” and “Angel #48” continued the dreamier stretch. These moments were a reminder that aespa doesn’t need a wall of bass and flashing screens to hold an audience’s attention.
The solo and duet stages were among my favourite parts of the night. Giselle and Ningning brought a relaxed feel to “Lollipop,” while Karina and Winter took a more energetic approach with “Serenade.” Each pairing had its own character, making the performances feel distinct rather than like variations on the same routine.
The four solo performances gave the members even more room to show what they could do. Ningning’s “I Love You But I Gotta Let You Go” built from restrained verses into soaring high notes, while Karina’s “16 Bit” relied on a more understated, moody delivery. Giselle showed a softer side on “BYEB4HELLO,” moving beyond her usual rap role, and Winter’s “Saddle Up” put her choreography and stage confidence front and centre.
These performances made a strong case for the individual personalities within aespa. The group’s sleek, coordinated image is part of its appeal, but seeing the members step outside that format made the concert more interesting.
The heavier material returned with “Armageddon” and “Bite,” followed by a run of choreography-driven performances including “Next Level,” “SHAKIN’” and “Supernova.” The dancers added scale to the show, and the synchronized routines looked particularly effective against the digital scenery. By this point, the production had made its point: aespa knows how to turn its music into a full arena experience.
The pre-encore dance challenge was a fun change of pace, with cameras scanning the crowd and giving fans a chance to show off their moves on the big screens. The segment ended with an (shy) audience singalong to “Roll” before aespa returned for “Yeppi Yeppi” and “’Til We Die.”
As someone still getting to know K-pop, I appreciated the range. The spectacle was impressive, but the quieter songs and individual stages stopped the night from becoming one long sensory overload. The sound mix could have been better, and some of the storyline went over my head, but those were minor complaints in a show packed with strong performances.
TWICE got me curious about K-pop, and IVE gave me another reason to keep exploring it. aespa made a convincing case for sticking around. Their Vancouver show was loud, visually striking and full of personality, with four performers who could hold Rogers Arena’s attention even when the production threatened to steal it. That’s a solid way to close out a North American tour.
Upcoming Aespa – SYNK : COMPLæXITY’ World Tour Dates:
01/14 – Manchester, United Kingdom @ AO Arena
01/16 – London, United Kingdom @ The O2
01/19 – Amsterdam, Netherlands @ Ziggo Dome
01/22 – Stockholm, Sweden @ Avicii Arena
01/24 – Copenhagen, Denmark @ Royal Arena
01/26 – Berlin, Germany @ Uber Arena
01/29 – Milan, Italy @ Unipol Dome
01/31 – Barcelona, Spain @ Palau Sant Jordi
02/02 – Paris, France @ Accor Arena
More information here.
Concerts Reviews
LØLØ Brings her ‘God Forbid a Girl Goes on Tour’ to the Pearl in Vancouver
LØLØ brought her second headlining tour – aptly named “God Forbid a Girl Goes on Tour” – to Vancouver this week, a first for the Canada-born artist. We’ve been a fan since we first heard “Death Wish” back in 2021, which seems like it was yesterday, and we aren’t going to overthink that right now. That being said, we’ve been waiting a long time for this night, and what a show!
We’ve been frequenting The Pearl more and more lately, and like so many others this show was sold out and packed wall-to-wall. There was a small mob for the first opener of the night, Dawson Gamble, and the floor was packed by the time Con the Artist took the stage. When LØLØ appeared, it was all plaid miniskirts and devil horns from the stage to the merch booth.
When the lights went down, LØLØ’s voice boomed over the speakers, narrating excerpts from a journal. LØLØ is not a choreographed, over-polished pop princess. Like so many artists that grew their audience from nothing, she does her best to connect with individuals in the audience. She takes her time, holds their hands, and during one memorable song, brings them on stage to dance.
“I think that people don’t want perfection,” she told Rolling Stone earlier this year. “They just want to see a live show and a special moment.”
LØLØ was very upfront about her adventures online, finding her voice, and time spent during COVID, and from the vibe you have to assume the audience had been there with her the entire time. From “The Floor is Lava” to “Faceplant,” all the hits were covered and sung along to. Speaking of which…
Must Hear Songs by LØLØ (In Our Humble Opinion):
• “death wish” (Single, 2021)
• “Hot Girls in Hell” (falling for robots, 2023)
• “u turn me on (but you give me depression)” (falling for robots, 2023)
• “Let It Go” (A Whole New Sound (Disney), 2024)
Fun fact: LØLØ was featured on a 2024 Disney punk album alongside Simple Plan, Magnolia Park, and Yellow Card, to name a few iconic bands. Check out her version of “Let It Go” from “Frozen.” It’s unexpected and a lot of fun.
LØLØ ‘s first moment of viral fame was her cover of “Hey There Delilah,” updated and sung from Delilah’s perspective. Pulling Con the Artist back on stage for a duet gave the crowd a wonderful, heartfelt moment that was honestly quite touching. Not everyone’s favorite song, but a lovely moment for everyone in the audience.
LØLØ, with several incredible songs in her library and with a stack of “Warped Tour” appearances already in the books, seems poised to breakthrough to the next level. She’s electric on stage, and animated, and we can only dream of the day she is given more space to play. Until then, another highlight concert of 2026, and something to think about until her next visit!
LØLØ Setlist:
• the devil wears converse
• pretty little wreck
• god forbid a girl spits out her feelings!
• THE FLOOR IS LAVA!
• debbie downer
• me with no shirt on
• the punisher
• 2 of us
• u turn me on (but u give me depression)
• faceplant
• Hey There Delilah
• death wish
• delusional darling
• junkie
• DON’T!
• dumbest girl in the world
• wish i was a robot
• hot girls in hell
Check out our favourite photos of the night below or head to our Facebook page for the full gallery. Thanks for attending the show with us and for checking out our review!
LØLØ
All Photo Credit: Jason Martin