Concerts Reviews
Stray Kids Electrify BST Hyde Park with Groundbreaking Performance – Live Review
On July 14th, over 50,000 fans were swept into the vibrant ‘Megaverse’ of Stray Kids at the British Summer Time (BST) Hyde Park Festival. The long-awaited comeback of the eight-member K-pop sensation marked their debut headline performance in Europe, making them the first K-pop male group to headline a European festival. This historic event was a testament to their meteoric rise across the globe, as they headlined their sold-out festival.
The 8 members – Bang Chan, Lee Know, Changbin, Hyunjin, Han, Felix, Seungmin, and I.N – lit up Hyde Park, turning a thunderous week into a bright, sunny celebration on Sunday Thousands of fans, known as ‘Stays,’ gathered from all corners of the world, eager to witness the group that has been at the top their playlists for years, some even for the first time. The 350-acre park buzzed with excitement, offering a plethora of mouth-watering snacks and finger foods, alongside ten stellar opening acts to entertain the crowd before the main event.
The festival’s lineup included captivating performances by Taiwanese singer KIRE, who enthralled the audience with his sensual stage presence, and the South Korean girl group NMIXX, who energized the crowd with their schoolgirl-themed outfits and dynamic mix of rap and R&B. Other notable acts included Alec Benjamin, Dhruv, The Cuban Brothers, Maisie Peters, Alien Blaze, Bellah Mae, The Live Carnival, Elijah Woods, Ben Ellis, and Tyler Lewis.
As the sun set and anticipation peaked, Stray Kids took to the stage around 9 PM with their track “S-CLASS,” which won the Top 20 Songs of the Year in 2023 at the Asian Pop Music Awards, setting the tone for a stellar night of jams. The Great Oak Stage was adorned with a bold red tapestry, which dramatically unveiled the eight members against a backdrop of Marvel-themed visuals that showcased their unique style and music videos. Fans chanted “Stray Kids all over the world” in unison, their excitement echoing through the park.
The group’s performance was a sensory overload, with dazzling choreography, powerful vocals, and high-energy interactions that left the crowd in awe. From tracks titled, “THUNDEROUS,” “SUPER BOWL” and “MANIAC”. A perfect blend of high pitch notes by I.N, sick rap lines by HAN and Felix‘s deep baritone voice captivated every ‘Stay.’ The group repeatedly went around and engaged the audience, keeping them bumping till the very end. Their carefree and bubbly personality kept supporters laughing and entertained, matching the group’s high energy performance. Bang Chan, the main speaker of the group, teased fans that the show was over mid way into the show, asking them “if they had a bedtime” and that “it was time to finalize the show.” Leading the crowd to applaud even louder and not take no for an answer, they chanted one more song until the group played more songs to close off. By the end of their 20-song set, which spanned their various albums, the crowd was left breathless and wanting more. Exactly like the lyrics in their chart-topping song “LALALALA” that reached 44.7 million streams and ranked #10 on the Billboard Global 200 stated, “Rock and roll, we dance ’til we fall” the crowd did exactly that.
Stray Kids‘ performance was not just about the music; it was an experience. Fire blazing hot fumes filled the air heating up the pumped atmosphere in Hyde Park, these stars skyrocketed London’s music culture with a tasteful blend of k-pop lighting up the night sky with dazzling fireworks during their “MIROH” song.
Submerged in Stray Kids universe of sick moves and vocals, many are anticipating when they will come back to London, and are hyped for their world tour called DominATE which kicks off in Seoul this fall with additional dates to be announced for Latin America, Europe, and North America. After their stellar performance, to keep the momentum going, they made sure to leave ‘Stays’ with a new album to keep the fun pumping and announced the release of their new album, set to drop on July 19th, featuring eight new tracks. This group will not fail to disappoint the world with their greatness, and will continue to dominate the music industry.
Concerts Reviews
LIVE REVIEW: A Sold-Out Night of Performance Art With Sudan Archives
Words by Kali Moreno
Photos by Kelli Rothwell
A sold-out night at The Pearl set the tone for a show that felt half concert, half art installation. Sudan Archives brought her genre-blurring world to Vancouver following the release of The BPM in 2025, with support from Cain Culto.
Cain Culto confidently navigated an energetic, multi-media set backed by Indigenous, Latin American, and Bluegrass influences – what he calls Kentucky Latin Art-Pop. As he gradually shed layers of clothing, he added homemade props to deliver his song’s messages of empowerment and resistance in both Spanish and English. His musical skills as a vocalist and violinist, paired with his artistic expression as a visual artist, created a riveting piece of performance art.
Dressed in a skin-tight, full body suit and wearing otherworldly grey contact lenses, Sudan Archives commanded a sold-out stage for her one-woman set at The Pearl. The deeply human themes of her songs, which sit in genre around house, techno, and R&B, were shared with the rowdy audience alongside recurring mechanical sounds and choreographed robotic movements. This examination of technology and humanity reminded that her artistry and expression transcend her talents as a singer, violinist, and beat-maker. Sudan Archives performed three encore songs, jumping off the stage to dance with the screaming crowd before leaving Vancouver with the parting words: “y’all are fucking lit.”
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
02-18 San Francisco, CA – Regency Ballroom
02-19 San Diego, CA – Music Box
02-20 Los Angeles, CA – The Fonda Theatre
More info on Sudan Archives’ website.
SUDAN ARCHIVES
CAIN CULTO
All Photo Credit: Kelli Rothwell
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.