Concerts Reviews
Saint Levant at the Commodore Ballroom in Vancouver – Live Review
Photos by Kelli Rothwell
Words by Sean Skibb
There are nights where you can walk the streets of Vancouver, and get a sense that someone is in town. It’s the kind of feeling you get when a big event is happening—when you see a sea of Canucks jerseys heading in the same direction, you know it’s game night. When stetsons flood the sidewalks, Shania Twain has arrived. But on Friday night, October 4th, the unmistakable sign of the evening was the Palestinian keffiyeh peppering the streets and side-streets of the Granville Entertainment District. And it was clear that the someone of the night was Saint Levant.
Saint Levant brought an electrifying sense of urgency and connection to Vancouver’s Commodore Ballroom on Friday night, where he delivered a rousing performance that was as much an act of solidarity as it was a musical celebration. With his unique blend of Palestinian, Serbian, French, and Algerian heritage, Saint Levant’s multilingual prowess was on full display as he moved through his catalog, flowing effortlessly between Arabic, French & English, touching on themes of identity, displacement, and love in his emotionally charged tracks. Songs like “Very Few Friends” and “From Gaza, With Love” resonated deeply with the audience, a majority of whom donned Palestinian keffiyehs, and waved Palestinian and Lebanese flags in solidarity, in a powerful statement just days before the anniversary of a year-long genocide in Gaza. Despite the setlist being relatively short—nine songs in total—there was little sense of dissatisfaction. Instead, what unfolded was a shared experience of resilience and community, bound together by Levant‘s raw energy and undeniable stage presence.
Though brief, the set was as much a rallying cry as it was a concert—an urgent reminder of the ongoing struggles faced by the Palestinian people, his own people, delivered with the conviction of an artist who grew up amidst the conflict of the Second Intifada uprising. In the lead up to the poignant “From Gaza, With Love,” Levant invited the crowd into a moment of reflective solidarity, followed immediately by the near deafening chants of a unified crowd, demanding a “Free Palestine”. Closing with “Deira,” the energy in the room never wavered, the atmosphere electric with the strength of those who came not just to hear music, but to express their part in a movement. In a city where music often serves as a temporary escape, Levant’s performance offered something deeper: an experience of collective resilience, a message to a crowd to whom the only perceptible global change has been an addition of another flag to wave in solidarity, a powerful assertion that in the face of immense hardship, hope, strength, and yes, even joy can still be found.
Check out favourite photos of the night of Saint Levant and opener Lina below, or head to our Facebook page for the full gallery!
SAINT LEVANT
LINA
All Photo Credit: Kelli Rothwell
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