Concerts Reviews
MARINA Crowns Fans and Conquers the Orpheum in Vancouver
For anyone who’s followed MARINA through her eras (glitter-drenched Electra Heart, kaleidoscopic Froot, or the rawer turns of Love + Fear), her latest tour feels like the payoff. The Princess of Power Tour, which stopped at the Orpheum Theatre in Vancouver, BC on September 7, didn’t just feel like a routine album cycle. It was a sold-out spectacle wrapped in video game fantasy, complete with levels and power-ups. And MARINA, now fully in her independent, self-directed era, looked like she was having the time of her life playing the main character.
Coco & Clair Clair kicked off the night, bringing their blend of dreamy rap-pop and sly confidence to the Orpheum. The Atlanta duo has been building a loyal following over the past few years with songs that straddle irony and sincerity, and their set had fans swaying, laughing, and singing along. Tracks like “Pretty” and “Pop Star” played perfectly in a live setting.
MARINA‘s set opened with a rolling Star Wars–style text crawl across a massive LED screen, setting the stage as if the audience was booting up a new adventure. MARINA appeared seconds later, shimmering in her pink bodysuit with fringe sleeves, launching into “PRINCESS OF POWER.” It was campy and theatrical, all of the things longtime fans love her for.
The show unfolded across six “levels,” each tied to songs and themes from her new album Princess of Power. The structure gave the night a clear arc, and MARINA leaned into it, shifting moods to match.
Level One: Star Fields paired that extended intro with an early-career classic, “Are You Satisfied?” to remind the crowd where this journey began, back in The Family Jewels days, when MARINA was the scrappy indie-pop oddball breaking into the charts.
By Level Two: The Heartbreaker, the audience was properly locked in. She dove into “Hermit the Frog” and the perennial fan favourite “How to Be a Heartbreaker.” The crowd sang every “love, love, love, love, love” hook.
Level Three: The Cocoon slowed things down, starting with “EVERYBODY KNOWS I’M SAD,” a new track that shows MARINA leaning into melancholy balladry with grace. Then she followed it up with “I Am Not a Robot,” a song that, tucked deep in her debut album, still has a special pull. Hearing it live again, alongside a newer track like “BUTTERFLY,” created a sweet symmetry between the MARINA of 2010 and the MARINA of 2025.
Things took a neon turn for Level Four: Digital Fantasies. Backed by slick, metallic visuals, she moved through “DIGITAL FANTASY,” the French-titled “JE NE SAIS QUOI,” and “METALLIC STALLION.” These songs leaned into the synth-pop sound she wears so well, her voice slicing through layers of production. If there was a moment that felt closest to “final boss” energy, this was it.
Level Five: Party Paradiso was where the show tipped into playful chaos. Many fans, men and women alike, had shown up dressed as royalty, tiaras and gowns everywhere you looked. MARINA used that energy for “CUNTISSIMO,” inviting a group of audience members dressed as princesses and princes to the stage for a full-on Princess of Power pageant. With her Libra humour in full force, she admitted it was hard to choose a winner since she’s “always indecisive.” In the end, she crowned not one, but two best friends. The entire bit was adorable and celebratory, and it only got louder when she closed the section with “Bubblegum Bitch,” which had the balcony stomping in rhythm.
Finally came Level Six: Keys to the Castle, the show’s final arc. She began with the cinematic sweep of “FINAL BOSS,” then threw the crowd into “ROLLERCOASTER” and “Primadonna.” Before the finale, MARINA took a moment to explain the roots of her new album. Princess of Power, she said, was inspired by video games, especially 1980s titles that used quirky sound effects and bit-crushed tones. She wove those same retro sounds into the record, and the live show, too. That reflection set up the closer, “I <3 You,” a heartfelt sendoff to all the fans.
If the concept and staging were the brain of the show, MARINA’s voice was the soul. The Orpheum Theatre’s acoustics suited her perfectly. Every note, from a breathy falsetto to her full-bodied belt, landed with clarity. She doesn’t rely on heavy backing tracks or elaborate choreography. Instead, her voice did the heavy lifting, filling every corner of the sold-out hall.
It’s easy to forget how long MARINA has been in the game. Since 2009, she’s moved through multiple personas, genres, and industry expectations, only to come out now on her own label, Queenie Records, with her vision sharper than ever. Princess of Power feels like her boldest album yet, and on stage, the concept clicks.
Whether you came for nostalgia, new material, or just to scream “Primadonna girl!” at the top of your lungs, the Princess of Power Tour gave you a place to do it.
Check out more photos of the show below or head to our Facebook page for the full gallery!
Upcoming Princess of Power Tour Dates:
09/10 — Portland, OR @ Keller Auditorium +
09/12 — Salt Lake City, UT @ The Union +
09/13 — Denver, CO @ Fillmore Auditorium +
09/15 — Minneapolis, MN @ The Fillmore *
09/16 — Royal Oak, MI @ Royal Oak Music Theatre *
09/18 — Toronto, ON @ HISTORY *
09/20 — New Haven, CT @ College Street Music Hall *
09/21 — Boston, MA @ Roadrunner *
09/24 — Philadelphia, PA @ Franklin Music Hall *
09/25 — New York, NY @ Radio City Music Hall *
09/28 — Washington, DC @ All Things Go
09/29 — Pittsburgh, PA @ Stage AE *
10/01 — Nashville, TN @ The Pinnacle *
10/02 — Atlanta, GA @ The Eastern *
10/04 — Austin, TX @ Austin City Limits
10/07 — Houston, TX @ Bayou Music Center *
10/09 — Dallas, TX @ Southside Ballroom *
10/11 — Austin, TX @ Austin City Limits
10/13 — Phoenix, AZ @ Arizona Financial Theatre *
10/14 — Pomona, CA @ Fox Theater *
10/16 — Los Angeles, CA @ Greek Theatre *
10/17 — Oakland, CA @ Fox Theater *
11/15 — Mexico City, MX @ Corona Capital **
+ w/ Coco & Clair Clair
* = w/ Mallrat
More information here.
MARINA
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: Halestorm in Buenos Aires: A Mountain of Hard Rock
Halestorm, the hard rock band hailing from Pennsylvania returned to Argentina after a decade to launch their latest studio album, titled Everest. The event took place this past March 29 at the Teatro Gran Rivadavia in Buenos Aires.
The night began calmly; the audience trickled in slowly, likely due to the numbered seating, which encouraged many to enter at the last minute. However, as always, the most die-hard fans were inside the theater early. From that same section, and in the absence of a support band, a group of fans spontaneously began singing several of the band’s choruses in unison, delivering impressive vocal performances.
At 9:00 PM, with surgical precision, the first to appear on stage was Arejay Hale (drums), followed by Josh Smith (bass) and Joe Hottinger (guitar). Finally, the frontwoman, singer, guitarist, and keyboardist, Lzzy Hale, made her entrance.
They chose to open with their 2009 debut single, “I Get Off.” They followed up with two more classics, “Love Bites (So Do I)” and “I Miss The Misery.” After these three tracks, it was clear that both the band and the audience were ready to give it their all.
Halestorm continued the set with “Watch Out!” from their latest album, followed by “Black Vultures” from the Vicious LP. Once finished, Lzzy addressed the crowd to recall the band’s participation in the 2025 Black Sabbath tribute in Birmingham. She asked the audience to raise their hands with the classic “metal horns” in memory of Ozzy Osbourne, leading into a cover of “Perry Mason.”
After a massive round of applause, the Americans continued presenting tracks from their new album with “Shiver.” Then—with a dedication from Lzzy to the women in the house—they played “Like a Woman Can,” closing the trio of new songs with “I Gave You Everything.”
At the midpoint of the concert, Lzzy took the mic to sing a fragment of “Familiar Taste of Poison,” showcasing her incredible range and clean high notes, before seamlessly transitioning into “Rain Your Blood On Me.” This highlighted her grittier, “broken” vocal style, proving her immense versatility as a singer.
After a brief break for the rest of the band, Arejay Hale took the spotlight for a drum solo that included his signature giant sticks. The band then returned for “Back From The Dead” and “Wicked Ways.”
The set continued with “K-I-L-L-I-N-G” and “Uncomfortable.” True to the song’s title, the beginning of the latter was the only moment where Lzzy seemed slightly “uncomfortable,” possibly due to a sound issue or a brief memory lapse with the lyrics—nothing serious, and it was resolved within seconds. They closed the main set with the title track of their new album, “Everest.”
After a few minutes of the crowd chanting for more, the band returned with “Freak Like Me,” a true anthem that had the “Freaks” (as the fans are called) jumping in unison. To wind down the night, they opted for “Fallen Star” and the ballad “Here’s To Us,” during which Lzzy Hale donned the Argentine national jersey with Lionel Messi’s number 10.
Thus, Halestorm concluded their third visit to Argentina, delivering a solid, polished, and high-energy show with top-tier sound. They gave their all to both long-time fans and the many new ones in attendance. Hopefully, we won’t have to wait another 10 years to see them again.
Words by Martin Cervetto
Photos by Tute Delacroix (@tutedelacroix)
Concerts Reviews
LIVE REVIEW: Evan Honer Turns the Commodore Into a Living Room Singalong
On March 30, 2026, Commodore Ballroom felt less like a historic venue and more like someone’s packed house party with Evan Honer at the centre of it all.
The night opened with Sam Burchfield, whose warm, rootsy set eased the crowd in. His style leaned into folk and Southern textures, setting a tone that fit neatly with what was coming next.
Honer’s rise still feels a bit unreal when you line it up. A few years ago, he was balancing college life and Division I swimming. Then his cover of “Jersey Giant” by Tyler Childers exploded online, pulling in hundreds of millions of streams and flipping his life overnight. Fast forward to now, and he’s running his own label, recording out of a garage studio, and touring internationally with a catalogue that keeps growing.
That momentum showed up immediately on stage. Honer kicked off his set with a burst of energy (and yes, a backflip!) setting the tone for a night that bounced between chaos and quiet reflection. Backed by a 5-piece band, he moved easily between acoustic moments and full-band arrangements, switching guitars and moods easily.
A big part of the set leaned on his latest album, Everything I Wanted, which marks a shift in his sound. The Americana roots are still there, but there’s a stronger pull toward indie pop and mainstream country. Tracks like the title song turned into full-on crowd moments, with the audience shouting back every word.
What stood out most was how little it mattered whether a song was new or old. Fans knew everything. Tracks from West On I-10 landed just as loudly as newer material, and songs like “Foolin’ Ourselves” and “Too Far Gone” felt like staples rather than throwbacks.
Mid-set, Honer slowed things down and stripped it back. Alone on stage, he played “Brother” and “Mr. Meyers,” both heavy, personal songs. You could feel the room quiet. It’s a risky move in a high-energy set, but it paid off.
He didn’t let things stay heavy for long with “Jersey Giant.” It’s still the song that introduced him to a massive audience, and live, it feels like it belongs to both him and the crowd now.
The encore leaned unexpected, with a cover of “Sugar, We’re Goin Down” by Fall Out Boy that somehow worked perfectly. Honer closed with “IDK Shit About Cars,” sending the room out on a high.
Beyond the music, the night carried a bit more weight. Honer has partnered with PLUS1, with $1 from every ticket supporting the Schizophrenia & Psychosis Action Alliance. It’s a small detail, but it adds context to an artist who clearly thinks beyond the stage.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
March 31 – Seattle, Wash. @ Showbox
April 1 – Portland, Ore. @ Crystal Ballroom
April 3 – San Francisco, Calif. @ The Fillmore
April 4 – Los Angeles, Calif. @ El Rey Theatre
April 5 – San Diego, Calif. @ The Observatory North Park
April 7 – Flagstaff, Ariz. @ Orpheum Theater
April 10 – Tucson, Ariz. @ La Rosa
April 11 – Phoenix, Ariz. @ The Van Buren
April 15 – Tulsa, Okla. @ Cain’s Ballroom
April 16 – Dallas, Texas @ The Echo Lounge & Music Hall
April 18 – Georgetown, Texas @ Two Step Inn
More information on Evan Honer’s website.
EVAN HONER
SAM BURCHFIELD
All Photo Credit: Caroline Charruyer