Concerts Reviews
LIVE REVIEW: The Captain of the Castro: Why Sam Smith’s Residency Is San Francisco’s New Sanctuary
Words by Starr Lee
SAN FRANCISCO- After an intimate residency in Brooklyn earlier this year, Sam Smith has brought the concept west, settling into San Francisco’s newly reopened Castro Theatre for a five-week run that feels deliberate and personal.
The neon marquee glows against the fog like it has something to say. Inside the 1,400-capacity movie palace, restored after a $41 million renovation, the main level fills quickly. No floor seating. Just a standing crowd packed beneath the balcony, bodies shoulder to shoulder, faces tilted toward the stage. Above them, fans lean over the railing, drinks in hand, waiting.
Smith walks out without fanfare.
They open with “Lay Me Down,” nearly motionless beneath a single spotlight. Dressed in a structured captain’s hat and a sweeping lace coat fastened with an oversized flower pendant, they look like a romantic voyager arriving somewhere that already feels familiar. The first note is soft, almost cautious. Then it opens.
In a room this size, nothing escapes. The Castros’ acoustics catch the grain in Smith’s tenor, the slight ache at the edge of sustained notes, the inhale before a chorus swells. The crowd is silent, standing still, listening.
When “I’m Not the Only One” begins, the temperature shifts. Smith lowers their voice for the first verse, almost speaking the lines before lifting into the chorus. On “You and me, we made a vow,” their voice tightens just slightly, intentional and controlled. By the second refrain, the crowd is singing quietly along. Not screaming. Not overpowering. Just enough to be felt. Smith steps back from the mic for a beat and lets the lyric hover before reclaiming it with a steady rise. The moment feels shared rather than performed.
After the second song, Smith looks out across the standing crowd below the balcony.
“This city means a lot to me,” they say. “My first show here, I was 20 years old.”
They tell a story about being left alone in San Francisco while a partner explored the city without them. About wandering through neighbourhoods by themselves. About unexpectedly falling in love with the place. “It feels very full circle to be here for five weeks,” they admit, scanning the room.
Then they squint toward the front.
“Wait. Were you here last night?”
A fan screams.
“Oh my God. You’re doing the residency properly. I love that.”
Laughter spreads across the floor and up to the balcony. That’s the difference when an artist stays in one place. The room starts to recognise itself.
Midway through the set, the lace coat slips away, revealing a custom Vivienne Westwood look: a black poet’s shirt with dramatic sleeves, tailored cheeky shorts, towering heeled boots striking sharply against the stage. The shift feels freeing. Smith moves differently now. Looser. More playful.
They introduce a new track, “My Guy,” sharing that for the first time in their career, they are writing from a place where the love is reciprocated. Followed by a cover of Erasure’s “A Little Respect”, “It’s a Wednesday,” they laugh, “but I need you to shake your titties.”
The balcony answers first.
A sleek blend of “Ain’t Nobody” and “I’m Not Here to Make Friends” turns the theatre intoa late-night dance floor. But soon they bring the energy back down to another cover
Later, bathed in deep blue light, Smith steps toward the piano for “Angel From Montgomery.”
“It took me eight years to finally listen to Elton and sing this,” they admit.
The arrangement is stripped back to piano and voice. No embellishment. The lower register carries weight. The higher notes remain clear and measured. When the final line fades, the room holds still for a second longer than expected before applause breaks through.
Sam Smith’s residency at the Castro Theatre runs through Feb.10th-March 14th, 2026. Tickets are available via the theatre’s official website. With just 1,400 standing spots per night and word spreading quickly, availability is limited.
Five weeks in one theatre does something rare. It turns a concert into a chapter. And this one is still being written.
Concerts Reviews
LIVE REVIEW: Warm Grooves and Wandering Sax: Venna’s Malik Tour Shines in Vancouver
On February 10th, a sunny day in Vancouver, British Columbia, Venna took the stage at a sold-out show at Fortune Sound Club to begin his 10th stop of the Malik Tour.
Venna’s Malik Tour transforms his debut album into a rich, flowing live experience that feels both intimate and expansive. From the first notes of “Prophet,” the tone is warm, atmospheric, and deeply intentional. The track rises slowly, giving Venna’s saxophone room to shine before the band steps in.
“Numero Uno” eases in with a slow, sensual build. Analogue textures settling around live drums, bass and guitar as they lock into a steady groove. A saxophone line runs through it, mostly consistent but never quite the same twice. As one of the early standouts in the set, it brings a vibrant, rhythmic lift to the room. Live, the track feels fuller and more expansive than on record. The percussion hits with extra weight, the bass digs in deeper, and the arrangement stretches just enough to feel loose and alive. It’s in moments like this that Venna’s skill as a bandleader really shows. He understands when to step out front and when to let the music unfold naturally.
Later in the performance, “Twisting” gently reshapes the mood. The track carries its silky, soul-infused character effortlessly, with R&B textures creating one of the evening’s most affecting moments. The audience sways in unison, absorbed in the melody as it floats over restrained yet powerful instrumentation. Stripped back to its live arrangement, the song underscoring Venna’s ability to blend influences seamlessly while keeping the overall sound cohesive and immersive.
Another standout is “Eternal Reflections,” which feels especially alive in a live setting. The arrangement leans into its layered textures, creating a cinematic feel. The band’s chemistry shines here, with each musician contributing without overpowering the others.
Throughout the set, Venna glides between high-energy grooves and quieter, introspective moments. The way one song flows into the next feels intentional. Even without an elaborate stage setup, the lighting mirrors the music’s mood. It glows in warm amber hues during the more intimate moments, then faded into cooler tones as the performance takes on a more atmospheric edge.
What makes the Malik Tour so compelling is its emotional pacing. The set doesn’t rely solely on standout singles; instead, it builds an arc. By the time the closing number arrives and reprised themes introduced earlier in the show, the audience feels like they’ve journeyed somewhere meaningful.
Venna proves that his artistry goes far beyond technical skill. On the Malik Tour, songs like “Prophet,” “Numero Uno,” “Twisting,” and “Eternal Reflections,” are reimagined. The result is a live show that feels cohesive and deeply human. It’s a conversation in sound that Venna leads beautifully.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
VENNA
All Photo Credit: Kamaya Atterberry
Concerts Reviews
The Offspring Bring ‘Supercharged World Tour” to Vancouver
Born in the *very* early 80’s, I was probably the perfect age to experience The Offspring when they hit it big. I remember when “Pretty Fly for a White Guy” was exploding, and “Why Don’t You Get a Job” was pretty much everywhere for a minute. Remember when Much Music was still a thing that featured music? But for me, the 90’s was the decade of punk/rock songs finding their way into video games and I can’t hear “All I Want” without thinking about Crazy Taxi. I think I played that game to hear that song! Probably not what the game designers had planned, but what do they care? I bought the damn game, take the win!
The Offspring launched 2026 by bringing their Supercharged World Tour to Canada earlier this month, with their second show here in Vancouver. The Offspring are one of those bands you think about when you think of 90’s punk. We just enjoyed Sum 41’s farewell tour last year, and while I hate that they’re gone, others carry on. We’ll never forget you, GOB! Supporting their new record brought their fans out in droves, packing Vancouver’s Rogers Arena.
The Offspring have no shortage of hits, and they rocked their way through them all. Their fans – liberty spikes front and center – had no opportunity to sit or rest from the moment the main attraction hit the stage. Tracks like “Bad Habit,” “Hammerhead,” and “Make It All Right” hit hard. Everyone knew the words, and everyone sang along. Often loudly. Proudly!
Check out our favorite photos of the night below!
Upcoming The Offspring: SUPERCHARGED WORLDWIDE in ‘26 Tour Dates:
Tue Jan 27 — Prince George, BC — CN Centre
Wed Jan 28 — Grande Prairie, AB — Bonnetts Energy Centre
Fri Jan 30 — Edmonton, AB — Rogers Place
Sun Feb 01 — Calgary, AB — Scotiabank Saddledome
Thu Feb 05 — Winnipeg, MB — Canada Life Centre
Fri Feb 06 — Fargo, ND — FARGODOME
Sat Feb 07 — Sioux City, IA — Tyson Events Center
Tue Feb 10 — Evansville, IN — Ford Center
Wed Feb 11 — Grand Rapids, MI — Van Andel Arena
Fri Feb 13 — Hamilton, ON — TD Coliseum
Sat Feb 14 — London, ON — Canada Life Place
Tue Feb 17 — Peterborough, ON — Peterborough Memorial Centre
Thu Feb 19 — Ottawa, ON — Canadian Tire Centre
Sat Feb 21 — Montreal, QC — Bell Centre
Mon Feb 23 — Moncton, NB — Avenir Centre
Tue Feb 24 — Halifax, NS — Scotiabank Centre
More information can be found at TheOffspring.com.
THE OFFSPRING
BAD RELIGION
All Photo Credit: Jason Martin