Concerts Reviews
LIVE REVIEW: Weird Al Takes Vancouver on a Wild Ride Through Pop Culture
There’s something pretty remarkable about Weird Al Yankovic: after decades of turning the biggest songs, trends, and pop-culture moments of the day into comedy gold, he somehow remains just as relevant as ever. While plenty of artists from past eras can feel firmly planted in their respective decades, Weird Al has somehow avoided becoming a musical time capsule. Instead, he keeps finding new ways to make each generation laugh, one accordion-fuelled parody at a time. His catalogue has grown alongside pop culture itself, from the hits of the ’80s and ’90s to the internet age and beyond, yet somehow none of it feels particularly dated. If anything, hearing one of his classic parodies today feels like running into an old friend who still knows exactly how to make you laugh. That ability to evolve without losing the wonderfully weird spirit that made him famous in the first place is a pretty impressive feat and a big reason why Weird Al continues to feel less like a nostalgia act and more like a permanent fixture of pop culture.
On September 3rd in Vancouver, at the Freedom Mobile Amphitheatre, it became pretty obvious that Weird Al’s particular brand of musical chaos has officially transcended generations. Kids were dancing along to “Eat It” right alongside parents who probably remember hearing it for the first time back in the ’80s. And somehow, decades later, “Smells Like Nirvana” and “Amish Paradise” still landed with the same wonderfully ridiculous energy. It’s a strange and delightful thing to watch: songs born from the pop culture of another era now being passed down like family heirlooms, only much funnier, and with significantly more accordion.
And that is the magic of Weird Al. He transforms songs into wonderfully bizarre little time capsules that somehow keep finding new audiences. His performances are every bit as committed as the jokes themselves, with elaborate costumes, choreography, visuals, character changes, and an almost suspicious amount of energy. Nothing feels like it is being phoned in. Even after all these years, there’s a genuine sense that he is having just as much fun with the absurdity as everyone watching him.
That commitment is a huge part of what makes a Weird Al show so much more than a collection of parody songs. It’s part concert, part comedy show, part trip down musical memory lane, and part “what on earth is happening right now?” spectacle. One moment you’re happily singing along to a song you haven’t heard in years, and the next you’re watching Weird Al transform into full “White & Nerdy” mode or go completely DEVO with the iconic red dome. The crowd clearly got the memo too, with a sea of wonderfully tacky Hawaiian shirts filling the amphitheatre. It’s silly, nostalgic, wildly entertaining, and impossible not to get swept up in.
Whether you came for the nostalgia, the comedy, the accordion, or simply to see what on earth Weird Al was going to do next, the answer was pretty much the same: have fun, be weird, and enjoy the spectacle. In a world where pop culture moves faster than ever, there’s something genuinely refreshing about an artist who can look backward, poke fun at the things we loved, and still make them feel brand new. Weird Al has spent decades proving that a good joke, a great song, and an accordion never really go out of style.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
WEIRD AL
PUDDLES PITY PARTY
All Photo Credit: Heather Horncastle
Concerts Reviews
LIVE REVIEW: AC/DC – Hell’s Still Bellin’
AC/DC. Christ. What’s left to say? Everything’s been said, screamed, tattooed on someone’s bicep already. Doesn’t matter. That’s the whole racket, they never changed, never blinked, and more than fifty years later they’re still the loudest gang in the room.
Growing up, they felt ancient already. I am a 2001 kid. Turns out the joke’s on me: they’re still out there, riffing like it’s ’79, refusing to retire into legend status.
Princess Auto Stadium was packed with about 35000 attendees. Everyone was wearing red twinkling devil’s horns. To warm up the night, The Pretty Reckless started with one of the hits “Death by Rock and Roll.” Some support acts play like they’re grateful for the slot. Taylor Momsen played like she owns the stadium. The hair falling forward, somehow the less you can see of her face the more magnetic she gets. Stage presence isn’t something you learn. She’s just got it.
The band didn’t sound like an opener. Every riff landed with the swagger “Going To Hell” and “Since You’re Gone” kept it burning, and “About You” brought it down to something rawer before the lights cut. By the time The Pretty Reckless walked off, the audience were already screaming AC/DC! AC/DC!
Winnipeggers stood stunned through AC/DC‘s whole set. Angus Young, 71 years old still in that signature blue schoolboy uniform and yellow-and-blue cap, ran wild across the stage, duck-walking like no time had passed at all, genuinely, a dream come true to watch in person.
Meanwhile, the rest of the band, rhythm guitarist Stevie Young, bassist Chris Chaney and drummer Matt Laug stayed largely in the background, keeping the engine running for Angus and Johnson to tear apart.
The production matched the legend, “Hells Bells” arrived with an actual giant bell hanging over the stage. The setlist ran deep: “Thunderstruck,” “Have a Drink on Me,” “Shot in the Dark,” “Stiff Upper Lip,” “Highway to Hell,” “Jailbreak,” “Dirty Deeds Done Dirt Cheap.” Almost every song sounded just as good as the album version. The crowd tore their vocal cords apart singing along to “You Shook Me All Night Long” and “TNT.” “For Those About to Rock (We Salute You)” closed things out with cannons blasting into the night sky.
The house lights came up and nobody moved right away. Smoke still hanging over the stage, ears ringing, horns still lit up red across the stands. Bands this old aren’t supposed to sound this dangerous. They aren’t supposed to still mean it. But AC/DC never got the memo about slowing down, and honestly, thank God for that. I walked out hoarse, deaf, and completely satisfied.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
AC/DC
THE PRETTY RECKLESS
All Photo Credit: Nischal Karki
Concerts Reviews
LIVE REVIEW: Party On, Vancouver: Dogstar Sells Out the Vogue Theatre
The Vogue Theatre was packed wall to wall on September 16 as Dogstar rolled into Vancouver, and the excitement was impossible to miss. New York rock band The Backfires kicked things off with a lively opening set, warming up the room before Bret Domrose, Robert Mailhouse and Keanu Reeves stepped onto the stage. Naturally, hundreds of phones immediately went up when Reeves appeared, because Vancouver was not about to let this extremely Keanu moment go undocumented.
Reeves held down the bass, Domrose took on guitar and vocals, and Mailhouse powered the night from behind the drums. While one member may come with a little more star power, Dogstar quickly felt like a proper three-piece instead of a celebrity side project. The chemistry between them was relaxed and natural, with plenty of smiles, glances and little interactions that made it clear they were genuinely happy to be playing together. Reeves frequently wandered across the stage to jam alongside his bandmates, occasionally making his way toward the front and sending another wave of phones into the air.
Dogstar’s story stretches back to Los Angeles in 1991, when Reeves and Mailhouse first started making music together. Domrose later joined the band, and the trio released two albums before going their separate ways in 2002. More than two decades later, they reunited, returned to the stage and released Somewhere Between the Power Lines and Palm Trees in 2023. Now, with their latest album All In Now and another tour underway, Dogstar are giving this chapter of the band far more than a quick nostalgia lap.
The set began with “Siren,” immediately setting an easygoing alt-rock tone for the night. Their cover of The Replacements’ “Can’t Hardly Wait” brought an extra burst of familiarity, while “Punch the Sky” landed with the kind of energy made for a full theatre. Rather than pausing for long speeches, the band kept things moving, letting the music and their chemistry do most of the talking. Domrose’s vocals stayed at the centre of the songs, Mailhouse gave them plenty of drive, and Reeves appeared completely locked into the groove on bass.
Yes, people cheered whenever Reeves moved closer to the edge of the stage. Yes, there was an undeniable thrill in seeing the internet’s favourite human casually rocking out a few feet away. But the attention did not stay on him alone. Domrose and Mailhouse were just as essential to the show, and together the trio delivered a performance that felt tight without becoming overly polished. There was still room for the songs to breathe, for the band to play off one another and for the night to feel a little spontaneous.
A fun surprise arrived during the encore with a roaring cover of The Beatles’ “Helter Skelter.” The band shared that they had only performed it live once before, making it a particularly unexpected way to close the night. The Vogue responded accordingly, singing, cheering and soaking up every last second before the trio left the stage.
More than 30 years after forming, and over two decades after calling it quits, Dogstar are back on the road and clearly having a great time together. That sense of fun was infectious, turning the sold-out show into something warmer and more memorable than a simple celebrity sighting. Vancouver may have arrived ready to see Keanu Reeves play bass, but by the end of the night, Dogstar had given the crowd plenty of reasons to stay invested in the whole band.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
DOGSTAR
THE BACKFIRES
All Photo Credit: Heather Horncastle