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 Andy Gabbard added extra muscle without crowding Auerbach, and bassist Eric Deaton locked everything together with a loose, rolling groove that kept the set from becoming too stiff. Keyboardist Jimbo Mathis 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
Concerts Reviews
Waka Waka en Baltimore: A Review of Shakira at CFG Bank Arena
The CFG Bank Arena in Baltimore, Maryland, has stood the test of time. From The Beatles playing sold-out shows in the 60s to Van Halen in the 80s and Prince in the 2010s, the arena has played host to the biggest names in music, sports, and history for over 60 years. Millions of fans have filled the seats built over the site where the Continental Congress once met. On Monday night, another historic name was added to the roster of CFG Bank Arena alumni. Playing to a nearly sold-out crowd, Shakira shook her hips and dazzled for hours of non-stop Latin pop fun.
The Colombian-born singer, with four Grammys, has wooed stages across the world for decades, and this latest stop along the Las Mujeres Ya No Lloran tour was no different. Shakira has come a long way since her 1991 debut album, Magia. With dozens of awards, a Super Bowl Halftime show performance, and now the highest-grossing Latin tour ever, her fame has risen to previously unattainable levels for a Latin singer.
This tour, in support of her newest album, which shares the same name as the tour and was released in 2024, has brought Shakira to every corner of the globe. Her first tour in nearly seven years kicked off in Brazil early last year and is quickly coming to a close, with just seven US dates remaining before a 12-show residency in Spain to end the monumental run. But the tour could not finish up without Shakira’s first ever appearance in Baltimore.
The show unfortunately started almost an hour late, though that did give a chance for the energy and anticipation to reach a fever pitch. Hundreds of fans stood on their chairs hoping to catch a glimpse of the singer as she walked to the stage. Almost every person in the room had their phones out hoping to capture a moment they would never forget.
Shakira took the stage in a glittering gold jacket and sunglasses that she slowly took off while smirking. One lucky fan ended up with an eternal memento as she threw the glasses into the crowd. As the music began to play behind her, Shakira belted out the first notes of “La Fuerte.” Thousands of voices joined in unison for the rest of the night. The only people that were silent were too mesmerized by her beauty to form complete sentences.
The setlist for the night led fans on a tour of Latin pop history. Many fans’ parents weren’t even born yet when the first Shakira album was released, but everyone, old or young, enjoyed the night the same. The first half of the night included hits like “Girl Like Me” from her collab with the Black Eyed Peas, “Te Felicito,” “TQD,” “Copa Vacia,” and “La Tortura.” The vibes were absolutely immaculate through the first 12 songs, with hips shaking, bodies moving, and heads bobbing.
The energy went through the roof though as the intro to “Hips Don’t Lie” rang out. Arguably one of her most famous songs, the beat had everyone rocking. I have never seen fans embody the groove so quickly as when each song played on Monday night. It was quite impressive seeing the crowd transitioning from swaying emotionally with the soft songs to nearly jumping as high as the ceiling during the harder-hitting songs.
The back half of the setlist was filled with even more hits than the first half. One of the best moments of the night was a barn full of zoo animals joining Shakira on stage for her hit Zootopia 2 song “Zoo.” Continuing, “Ojos Asi” and “Underneath Your Clothes” were played and extremely well received! There was not a song on the set that didn’t receive screams from thousands of rabid fans.
As the night wrapped up, Shakira walked off the stage to “Waka Waka,” but that was not the finale. The night could not end without “She Wolf.” But when the night was over, it was extremely hard to clear the building as it seemed like everyone wanted a second encore and kept chanting Shakira’s name. Unfortunately, there would not be a second encore, but I think everyone got their money’s worth.
This was overall just an amazing show. Everyone knows what they are going to get at a Shakira concert and she did not let them down! The dancing was superb, Shakira’s voice sounded amazing, and the visuals were spectacular. I highly recommend seeing Shakira before the tour ends, because she does not come around often.
The tour will continue on in Boston and New York later this week, so if the Baltimore fans want a round two, it is only a short Amtrak ride to the next Shakira spectacle.
Check out our favorite photos of the night below or head to our Facebook page for the full gallery!
SHAKIRA IN BALTIMORE
All Photo Credit: Ryan Renger
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