Concerts Reviews
The Darkness Light Up Montreal with Old-School Rock and Roll
On Sunday night, British glam rock veterans The Darkness rolled through Montreal as part of their “Dreams on Toast” North American Tour. They’re on the road promoting their eighth studio album, and fans packed the iconic Club Soda for a night of old-school rock and roll with their signature touch of glam.
First on the bill was Ireland’s very own Mark Daly, along with a full backing band. Mark Daly and his band played unapologetic garage rock and roll. His voice was reminiscent of Eddie Vedder from Pearl Jam or the late Chris Cornell, and their music gave off heavy Led Zeppelin vibes. It was clear what their influences were, and the Montreal crowd was absolutely vibing with them. It was their first time in the city, and they were visibly shocked by the great response from the Montreal crowd. In an act I rarely see for an opening band, about halfway through their set, the classic “Oee oee oee” chants blasted through the venue. Daly, a bit in disbelief, said, “This is the first time that’s ever happened to us. This is insane. Thank you,” before finishing their set. They all grabbed a shot of whiskey and toasted the Montreal crowd. “You know how we Irish people don’t like to drink at all,” he joked, “but this is a special occasion.” It was a truly great opening act that I hope to catch again soon.
At 9 p.m. sharp, the stage flooded with smoke and red light, and in came The Darkness. Dan Hawkins (guitar) and Rufus Taylor (drums) came out first, arms raised and clapping to the cheering crowd, followed by Frankie Poullain (bass). Seconds later, their iconic frontman Justin Hawkins rushed in, rocking a full-on cowboy outfit: a black embroidered button-up shirt, slim black pants with metal studs down the sides, and, of course, a cowboy hat. He strapped on a grunged-up orange neon Stratocaster, and the rock and roll party aptly started with “Rock and Roll Party Cowboy,” the first single from their new album.
The band sounded fantastic and well-rehearsed throughout the night. Specially obvious during the second song of the set, “Get Your Hands Off My Woman,” a track I know front to back from their first album, Permission to Land. Hawkins’ signature falsetto just makes you want to go, “Hell yeah!” with every note. It’s pure glam rock and roll, something we no longer get to see very often, especially in mid-size venues.
The set list felt very well-crafted by a band that seemed to know most of the audience grew up listening to Permission to Land and that’s what we wanted to hear. They would play a couple of new songs, then go back to a banger from their first album like “Givin’ Up” and their iconic power ballad “Love Is Only a Feeling.” The band would then move on to play newer stuff like “Motorheart” or “Mortal Dread.” It was an unspoken exchange between the band and the audience: “We’ll give you what you want, but we’ll also play what we want in return.”
Even on the lesser-known songs, Hawkins knows full well how to command an audience. During “Walking Through Fire” he ran the audience through a line dance, doing a two-step to one side of the venue, then the other. I have to admit, seeing a bunch of metalheads line dancing on a Sunday night at a rock show wasn’t on my bingo card, and it’s the kind of energy the frontman is able to transmit to a crowd with ease, even after all these years.
Throughout the night, The Darkness had some great surprises to hype us up. They played a cover of “The Power of Love” by our own local treasure, Celine Dion. That, of course, might have been the loudest the crowd was all night. If you want a Montreal crowd to go crazy, just play Celine Dion; it will never fail. They also played a cover of “Fat Bottomed Girls” by Queen, which also never fails to hit at a metal show, with Hawkins hitting every note originally sung by the legend Freddie Mercury with ease.
The highlight, of course, was closing their main set with “I Believe in a Thing Called Love.” The song that gave them international recognition back in the early 2000s is a must-have on every glam-metal playlist around the world. We all sang along with Hawkins, who could not stop smiling through the entire song.
It was a night of pure rock and roll bliss. The Darkness proved they can still command a crowd, bringing their timeless glam-rock sound to a city ready to embrace both the nostalgia and the new. The Montreal crowd was more than happy to be a part of it, leaving no doubt that the band still has a great following on the other side of the world.
Check our our favourite photos of the night below or head to our Facebook page for the full gallery!
THE DARKNESS
MARK DALY
All Photo Credit: Andres Amaya
Concerts Reviews
LIVE REVIEW: Joji’s Solaris Tour Makes an Impact in Montreal
For an artist whose music thrives on intimacy, melancholy, and emotional vulnerability, Joji’s concert at Montreal’s Centre Bell on June 20th, 2026 was no exception to these themes. With the size of the venue, holding roughly 16k fans for a concert, it is tough to set a scene intimate enough to make the room feel close and personal, but Joji seemed to pull it off with a polished ease. Supporting acts Nate Sib and Corbin also contributed to the evening’s tone. Their performances helped establish the night’s mood while introducing the audience to emerging artists whose work shares similar lyrical moods and music style with Joji’s discography. By the time Joji took the stage, the Centre Bell crowd was fully engaged and erupting in cheers from the moment the lights went down.
The Montreal stop came early in Joji’s highly anticipated Solaris Tour, a massive North American and European run supporting his latest album Piss In The Wind. Longtime fans could tell this was more than just a regular tour for Joji, but more so a reminder of how far he has come since emerging from internet culture as George Kusunoki Miller, the creator behind “The Filthy Frank Show” on YouTube and Pink Guy personas, before reinventing himself as one of contemporary music’s most distinctive alternative R&B voices. He even popularized the Harlem Shake dance!
Many initially viewed the transition with skepticism, assuming his musical ambitions wouldn’t reach the same heights as his online persona, but instead, Joji steadily established himself as a real artist, releasing acclaimed projects including BALLADS 1, Nectar, SMITHEREENS, and most recently, Piss In The Wind.
His music blends alternative R&B, lo-fi production, electronic textures, and pop songwriting, creating a distinctive sound that is deserving of the success he found. Today, he stands as one of the great examples of an internet creator successfully reinventing themselves as a legitimate recording artist.
By the time the lights dimmed, the smoke started pouring in the venue and the massive background screens lit up, the roar of the crowd was deafening. Joji’s strength as a performer has never been theatrics, elaborate props or choreography. Instead, he succeeds through creating an intimate scene that highlights the emotions in his music. His songs explore loneliness, heartbreak, longing, and self-reflection, themes that resonate deeply with audiences navigating similar emotions. Throughout the night, the singer demonstrated an ability to shift seamlessly between vulnerable ballads and more energetic moments, maintaining an emotional connection with the audience despite the size of the arena.
The setlist reflected the full range of Joji’s catalog while featuring the most songs from “Piss In The Wind” and “Nectar.” The show opened with a bang, with performances of “PIXELATED KISSES,” “Sojourn,” and “Ew,” then continuing with popular fan favourites including “Glimpse of Us,” “Daylight,” and “Like You Do.” After a 25 song setlist featuring some interludes, the concert closed in a powerful rendition of “SLOW DANCING IN THE DARK, ” a song that remains one oft he defining works of Joji’s career and one that transformed the Bell Centre into a sea of illuminated phone screens and a shower of confetti.
One of the night’s highlights was when Joji brought out a robot during “Last of a Dying Breed.” The robot danced next to him during the song, which added humour to an otherwise very emotional concert. During the rest of the set, Joji delivered a performance that emphasized emotion over technical perfection. His voice carried a rawness that complemented the themes of the material, particularly during quieter moments. In an era when many arena performers rely heavily on choreography or elaborate staging to maintain audience engagement, Joji’s greatest asset remains his capacity to communicate vulnerability. Other than a few props, such as the robot, a t-shirt cannon and confetti at the end of the set, Joji’s sole “prop” was the large screens behind him. The visuals were very psychedelic, putting the audience in what felt like a trance to fully convey the experience and emotions in the songs he was performing.
The Solaris Tour is not the first time Joji has performed in Montreal. His performance at Osheaga Music Festival in 2019, and in 2022 at MTELUS (a much smaller venue than Centre Bell) largely helped him establish a fanbase in Montreal. Throughout the night, fans sang every lyric, reinforcing the idea that Joji’s music functions as more than entertainment; for many listeners, it serves as a way to cope with deeply personal experiences and as a reminder that they aren’t dealing with these experiences alone.
As the final notes faded and fans slowly made their way toward the exits, many stopping to pick up merch before they left, the atmosphere showed that Montreal had witnessed more than a routine tour stop. Despite Montreal’s show being one of the first stops, the Solaris Tour already proved itself one to be not necessarily polished in the way a usual arena performer’s elaborate set is, but designed perfectly to represent what each song’s meaning calls for. As the tour continues, audiences can expect a production that combines captivating visuals, emotional songwriting, and a performer who continues to redefine expectations the public sets on him. For Montreal fans, the concert on June 20th, 2026 offered a compelling reminder of Joji’s unique ability to transform deeply personal music into a communal experience—one capable of filling an arena while still leaving you feeling like you were the only one in the crowd.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
JOJI
NATE SIB
All Photo Credit: Ashley Bellam
Concerts Reviews
LIVE REVIEW: Bleachers Bring Big Energy to a Long-Awaited Montreal Return
On June 10th, 2026, fans packed into MTELUS for the Montreal stop of Bleachers’ Bleachers Forever tour. This is the second time the band has had in Montreal, the first being at Osheaga Music and Arts Festival back in 2022, which is the perfect place to build a Montreal fanbase.
Momo Boyd, a New York City based vocalist and songwriter, had no problem setting the tone for the night. With songs like “Cold Hands,” “Strong,” and even a cover of “Dreams” by Fleetwood Mac, her set was filled with enchanting purple lights, beautifully deep lyrics, and captivating vocals. Although her performance was more “low-key” than a typical Bleachers performance, it had its moments of picking up, and was the perfect way to ease the crowd into the night, and left many audience members as a new fan.
As Bleachers took the stage, opening their set with “My Way,” there was no doubt that this would be a night to remember. The band, consisting of lead singer Jack Antonoff, Mikey Freedom Hart, Zem Audu, Mike Riddleberger, Evan Smith and Sean Hutchinson came out to the wonderful sound of saxophone played by band member Zem Audu, and though the first half of the song was slower, the energy built up shortly after through flashing lights, jumps and a roaring crowd.
The audience erupted in cheers and laughter as lead singer, Jack Antonoff spoke out about artists always skipping Montreal during their tours, saying: “They think they can play Osheaga and that’s enough?”, and “What’s with (bands) that think they can play Osheaga, which is like an expensive ticket, and not just come play a normal show.” As me, and many others in that room have traveled to Toronto to see our favourite artists when they skip Montreal on tour, I completely agree with this!
The night continued with back-to-back hits, including “you and forever,” “Merry Christmas, Please Don’t Call,” and of course, “I Wanna Get Better,” and closing the set with “Stop Making This Hurt.” They even played a cover of Margaret by Lana Del Ray, which they’re featured on!
Bleachers set an incredible standard of engaging a crowd and keeping a consistently high-energy audience. From the first note, to the emotional highs and lows, to the closing goodbyes, fans were cheering, singing and dancing the whole time! They even had a photobooth in the venue where you could take pictures before the show! This is certainly a band that will be in people’s rotation for years to come, so the tour name speaks for itself when it says, Bleachers Forever!
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
BLEACHERS
MOMO BOYD
All Photo Credit: Ashley Bellam