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: Arkells Close Out Vancouver City Takeover With Explosive Commodore Set
Canadian rock band Arkells wrapped up the Vancouver stop of its “Between Us City Takeovers” run on May 9 with a packed show at Commodore Ballroom. After two smaller warm-up gigs earlier in the week at The Penthouse and Hollywood Theatre, the band landed in the sweet spot Saturday night: a legendary venue large enough for a full-on singalong, but still intimate enough to feel personal.
The evening opened with a set from Ernesto Trombodo, a trombone-playing DJ who quickly won over the early crowd with a loose, energetic performance that leaned into funk, indie rock, and a bit of playful chaos.
Arkells walked onstage to deafening cheers and wasted no time getting things moving. Frontman Max Kerman has built a reputation as one of Canada’s most engaging live performers, and he spent nearly the entire night in motion, dancing across the stage, climbing onto the stage set up, and constantly interacting with fans near the barricade. Even after nearly two decades as a band, Arkells still perform like they’re trying to win over every person in the room for the first time.
The show itself was split into two acts. The first half featured Between Us performed front to back, giving the band space to fully settle into the newer material before launching into a second set packed with fan favourites and older hits. It was a smart format that made the night feel more like an event than a standard tour stop.
Their energy has always been their secret weapon. The songs themselves are straightforward: big hooks, driving rhythms, choruses built for crowds to shout back. Live, though, they hit differently. At the Commodore, tracks like “Boss,” “Leather Jacket,” and “Knocking” became massive communal moments. Nearly every lyric echoed back toward the stage from the sold-out crowd.
The concert was technically in support of the band’s latest album, Between Us, but it never felt like one of those shows where fans politely tolerate the new material while waiting for the hits. Kerman recently explained that smaller and mid-sized venues give new songs space to grow naturally before they move into arenas and festival fields, and that idea made sense watching these tracks unfold live.
The newer material carries a noticeable ‘90s-pop-rock influence, with heavier keyboards and polished grooves that feel a little like vintage Hall & Oates filtered through modern indie rock. Onstage, though, the songs still carried the same punch and warmth Arkells fans expect.
One of the most interesting things about this mini-tour was the stripped-down setup. Arkells often tour with additional musicians and their Northern Soul Horns, particularly for festival appearances, but this run was just the core five members: Kerman, guitarist Mike DeAngelis, bassist Nick Dika, drummer Tim Oxford, and keyboardist Anthony Carone.
The leaner lineup worked in the Commodore’s favour. Without the extra layers, the songs felt more immediate and rough around the edges. There was a looseness to the performance that made the night feel less choreographed and more spontaneous. Kerman joked several times between songs, told stories about the band’s early Vancouver shows, and kept the atmosphere relaxed.
At one point, he reflected on how many stories the Commodore’s walls would be able to tell with the amount of times they played there. The crowd laughed, but it tied perfectly into the spirit of the City Takeovers concept: revisiting the kinds of venues that shaped the band long before arena headlining slots and festival crowds became normal.
That connection between band and audience defined the night. Arkells have never been a cool-from-a-distance type of rock band. Their shows thrive on participation. Fans danced constantly on the Commodore’s famous sprung floor, strangers screamed lyrics together, and phones popped up every few minutes as Kerman (and once accompanied by Ernesto Trombodo) wandered through the crowd during several songs.
By the final stretch of the set, “Leather Jacket” tipped the room into celebration mode. “Leather Jacket.” The night closed with Kerman standing near the side tables of the Commodore with just his guitar, leading the crowd through a massive a cappella singalong.
What made this show stand out wasn’t massive production or elaborate visuals. There were no fireworks, giant video screens, or over-produced transitions. Arkells relied entirely on chemistry, songwriting, crowd connection, and great music.
For a band that now headlines arenas and major festivals across Canada, these smaller “City Takeovers” could have easily felt like a nostalgia exercise. Instead, the Vancouver finale felt fresh and purposeful. Arkells weren’t just revisiting old rooms for sentimental reasons. They were reminding people why they became one of the country’s most reliable live bands in the first place.
And judging by the volume inside the Commodore Ballroom on Saturday night, Vancouver was very happy to welcome them back.
Arkells will be back in Vancouver on July 7 at the new PNE Amphitheatre for the FIFA Fan Festival.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
ARKELLS
All Photo Credit: Caroline Charruyer
Concerts Reviews
LIVE REVIEW: Goldfinger Keep the Pit Moving and the Shoes Flying in Vancouver
On April 17th, the Commodore Ballroom in Vancouver felt like a ska-punk time warp, with California punk legends Goldfinger supporting their new album, Nine Lives.
Sullvn got things rolling with a set that didn’t waste any time. Within minutes, hats were flying into the crowd like it was a merch-based game show, and the vibe quickly turned into organized chaos. They brought to the stage Dicky Barrett, former frontman of Mighty Mighty Bosstones for their hit “Raise a Glass”.
Next up was Broadway Calls, proving once again that a three-piece can absolutely shake a room. Their brand of fast, hooky punk tore through the crowd, with songs like “Call It Off” and “Back to Oregon” landing like instant jolts of energy. By the time they wrapped, the room was fully ready for Goldfinger.
Right away, frontman John Feldmann started doing crowd math. “How many of you are under 20?” A few scattered hands. “Over 40?” A lot more hands. He laughed and proudly stated that to still be doing this 32 years later as the best feeling in the world. This wasn’t a band clinging to nostalgia… but they also weren’t about to ignore it.
From there, it turned into the kind of chaos Goldfinger shows are known for, a non-stop blur of songs, crowd surfers, and, of course, the sacred tradition of shoes flying through the air. Somewhere along the way, footwear stopped being optional and started being part of the performance. Pairs were held up like trophies, launched across the room, or lost to the pit entirely. If you managed to leave with both shoes still accounted for, honestly, that’s a personal victory. The setlist leaned into exactly what people wanted. “Here in Your Bedroom,” “Chasing Amy” “Counting the Days”, all the hits, all loud, all sung back at the band like it was a group project. The floor barely stayed still for more than a few seconds, and the security team definitely got their steps in from the steady stream of crowd surfers.
During “Mable,” they pulled fans up on stage to dance, turning the whole thing into a slightly chaotic, very wholesome party. And then… “Superman.” The reaction was instant. Like, no hesitation, full-body nostalgia. The second it started, it felt like half the room got mentally transported back to playing Tony Hawk’s Pro Skater 2 in their living rooms. Suddenly, everyone knew every word (even the ones they probably didn’t know they knew), and the energy somehow went up another level. It wasn’t just a highlight, it was the moment.
When it wrapped at the Commodore Ballroom, the place was wrecked in the best way – sweaty, shoeless, and buzzing. Still, no one seemed in any hurry to leave.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
GOLDFINGER
BROADWAY CALLS
SULLVN
All Photo Credit: Heather Horncastle