Concerts Reviews
The Darkness Rock Their Sold-Out Show At Commodore Ballroom!
There are concerts you go to, and then there are concerts you experience! The Darkness’ sold-out show at the Commodore Ballroom on November 18th was absolutely the latter for their Dreams on Toast tour. But before the rambunctiousness with Hawkins and co took over, the night opened with an unexpectedly powerful set from Irish rocker Mark Daly.
Coming all the way from Cork, Daly stepped out with the confidence of someone who knew he was about to win over a room full of strangers. His set was polished and unapologetically loud in the best possible way. The harmonies were tight, the melodies were bold, and the songs carried that nostalgic, Van Halen–esque shimmer that hits you right in the chest. One of the standout moments came during “Superhero,” which turned into a heavy, head-banging wave of energy. What made the night even cooler was that the entire sold-out crowd actually turned up for the opener, none of that fashionably-late stuff! The room was already shoulder-to-shoulder when Mark Daly hit the stage, and you could see the surprise ripple through people who had no idea who he was. It was that collective “Damn, this guy’s really good” moment that spread across the floor. By the end of his set, Daly left the Commodore fully charged for the chaos and joy that were about to follow.
And now, The Darkness.
If you’ve seen The Darkness before, you know the deal: it’s not just music, it’s theatre, comedy, spectacle, and pure rock bravado all blended together. But even longtime fans seemed caught off guard by just how electric the band felt that night. Maybe it was nostalgia, maybe it was how much fun they were having on stage! From the moment Justin Hawkins and the band appeared in near-total darkness, true to their name, the room crackled with anticipation. They eased the crowd in as the amps warmed up, Justin looking sharp as ever in a perfectly tailored plaid blazer and trouser combo.
The band didn’t waste any time pulling out signature moves either. Justin’s iconic handstand on the drum riser made its appearance early enough to let everyone know they were in for a night of peak Darkness energy. The light show was dialed in with ridiculous precision; every beat, every guitar squeal, every sudden burst of falsetto lined up with strobes and colour shifts bursting across the stage like a coordinated fireworks display. Everywhere you looked in the crowds, there were people dancing, jumping up and down.
One sweet moment came when Justin paused after the third song to thank the local photographers in the room. It was a small gesture, but it genuinely warmed the vibe, especially in a city where live music photographers are such a big part of documenting the scene. And speaking of crowd connection, Justin did not hold back. He made it clear from the start that he wanted the Commodore to be the best audience of the tour, and the crowd took that challenge personally. At one point, he even managed to get the entire room doing choreography to a song by pumping their hands up in the air like a marching movement, which was equal parts hilarious and impressive. Another standout moment came during “Barbarian,” when Justin ended up playing guitar on the ground like a man possessed while the crowd absolutely lost it.
The interactions didn’t stop there. When the band rolled into “Givin’ Up,” Justin stepped back and let the crowd sing the beginning, soaking in every moment before yelling, “I f**king love you guys!” It was just one of those moments that make the whole night worth it!
Throughout the night, the band sprinkled in a bunch of unexpected musical interludes, hopping playfully between snippets of “In the Air Tonight,” “Dead Flowers,” “The Power of Love,” (they absolutely nailed covering Celine Dion – collab anyone?), and even “Immigrant Song.” Each little detour added to this wonderfully chaotic, jam-session energy that made the set feel alive and the fans on their toes. They also made sure to toss in a nod to their Christmas song, because what’s a Darkness show without a little festive mischief?
As the night started edging toward its finale, Justin asked everyone to put their phones away and actually connect for a moment. And good thing he did, because the second that unmistakable opening riff hit, the whole crowd knew exactly what was coming. Everyone was ready to rage and sing their hearts out as they played their biggest hit, “I Believe in a Thing Called Love”.
For the encore, the band returned to an eruption of cheers and launched into “Summer of ’69,” a loving tribute to Bryan Adams, whom Justin described as one of his favourite Canadian songwriters. The energy in the room only kept climbing as they followed it with “One Way Ticket to Hell” and “Hate Myself,” before finally closing the night with the killer riff from Zeppelin’s “Heartbreaker.” As the stage lights kept flashing, the band tossed out their guitar picks, drumsticks, and setlists to the fans, a lovely cherry on top finish to a night that already felt impossibly intimate for such a high-energy show!
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Dreams On Toast Tour Dates:
11/21 – Salt Lake City, UT @ The Depot
11/22 – Denver, CO @ Summit
More info on the band’s website.
THE DARKNESS
MARK DALY
All Photo Credit: Heather Horncastle
Concerts Reviews
LIVE REVIEW: aespa Close North American Tour With a Futuristic Spectacle in Vancouver
My K-pop education continued on October 11 as aespa brought their SYNK : COMPLæXITY Tour to Rogers Arena in Vancouver. After seeing TWICE in January and IVE in August, this was my third concert foray into K-pop. I was excited to see how aespa would compare, and the answer was a little different from my first two experiences. Where TWICE brought the fun and IVE delivered its own polished pop spectacle, aespa leaned into futuristic visuals, heavy electronic production and choreography that rarely let up.
With no opening act, the stage belonged entirely to Karina, Winter, Giselle and Ningning. Vancouver marked the final stop of the North American leg before the group heads to Europe in January, making this the last chance for fans on this side of the Atlantic to see the production for a while.
There had been some concern about Giselle’s participation after she left the stage five songs into the group’s October 9 show at Climate Pledge Arena in Seattle. Thankfully, she was back in Vancouver. Both she and Winter mentioned having a cold, but you wouldn’t have known it from their performances. Neither appeared to let it get in the way, and both delivered strong performances throughout the night.
The show opened with “LEMONADE,” immediately filling Rogers Arena with heavy bass, electronic beats and futuristic visuals. The production was massive, but the sound mix occasionally worked against the group. At points, the bass threatened to overpower the vocals, which was frustrating when four singers this capable were onstage.
“Switchblade” and “Whiplash” kept the momentum going before aespa reached back to its 2020 debut single, “Black Mamba.” The choreography remained sharp, and the group’s ability to move between demanding routines and vocal passages without losing its composure was impressive. “WDA (Whole Different Animal)” brought a harder hip-hop edge, with Giselle’s rap standing out against the heavy production.
The concert was divided into five acts, with cinematic video segments building on the group’s fictional universe. The story occasionally felt like a lot to keep up with, particularly for someone who hasn’t followed every chapter of aespa‘s mythology. Still, the visuals gave the show a clear identity. The production had a narrative thread running through it.
The second act offered a welcome change of pace. Karina introduced “Count on Me” on a piano, leading into a softer arrangement that let the members’ voices take centre stage. “Camouflage” and “Angel #48” continued the dreamier stretch. These moments were a reminder that aespa doesn’t need a wall of bass and flashing screens to hold an audience’s attention.
The solo and duet stages were among my favourite parts of the night. Giselle and Ningning brought a relaxed feel to “Lollipop,” while Karina and Winter took a more energetic approach with “Serenade.” Each pairing had its own character, making the performances feel distinct rather than like variations on the same routine.
The four solo performances gave the members even more room to show what they could do. Ningning’s “I Love You But I Gotta Let You Go” built from restrained verses into soaring high notes, while Karina’s “16 Bit” relied on a more understated, moody delivery. Giselle showed a softer side on “BYEB4HELLO,” moving beyond her usual rap role, and Winter’s “Saddle Up” put her choreography and stage confidence front and centre.
These performances made a strong case for the individual personalities within aespa. The group’s sleek, coordinated image is part of its appeal, but seeing the members step outside that format made the concert more interesting.
The heavier material returned with “Armageddon” and “Bite,” followed by a run of choreography-driven performances including “Next Level,” “SHAKIN’” and “Supernova.” The dancers added scale to the show, and the synchronized routines looked particularly effective against the digital scenery. By this point, the production had made its point: aespa knows how to turn its music into a full arena experience.
The pre-encore dance challenge was a fun change of pace, with cameras scanning the crowd and giving fans a chance to show off their moves on the big screens. The segment ended with an (shy) audience singalong to “Roll” before aespa returned for “Yeppi Yeppi” and “’Til We Die.”
As someone still getting to know K-pop, I appreciated the range. The spectacle was impressive, but the quieter songs and individual stages stopped the night from becoming one long sensory overload. The sound mix could have been better, and some of the storyline went over my head, but those were minor complaints in a show packed with strong performances.
TWICE got me curious about K-pop, and IVE gave me another reason to keep exploring it. aespa made a convincing case for sticking around. Their Vancouver show was loud, visually striking and full of personality, with four performers who could hold Rogers Arena’s attention even when the production threatened to steal it. That’s a solid way to close out a North American tour.
Upcoming Aespa – SYNK : COMPLæXITY’ World Tour Dates:
01/14 – Manchester, United Kingdom @ AO Arena
01/16 – London, United Kingdom @ The O2
01/19 – Amsterdam, Netherlands @ Ziggo Dome
01/22 – Stockholm, Sweden @ Avicii Arena
01/24 – Copenhagen, Denmark @ Royal Arena
01/26 – Berlin, Germany @ Uber Arena
01/29 – Milan, Italy @ Unipol Dome
01/31 – Barcelona, Spain @ Palau Sant Jordi
02/02 – Paris, France @ Accor Arena
More information here.
Concerts Reviews
LØLØ Brings her ‘God Forbid a Girl Goes on Tour’ to the Pearl in Vancouver
LØLØ brought her second headlining tour – aptly named “God Forbid a Girl Goes on Tour” – to Vancouver this week, a first for the Canada-born artist. We’ve been a fan since we first heard “Death Wish” back in 2021, which seems like it was yesterday, and we aren’t going to overthink that right now. That being said, we’ve been waiting a long time for this night, and what a show!
We’ve been frequenting The Pearl more and more lately, and like so many others this show was sold out and packed wall-to-wall. There was a small mob for the first opener of the night, Dawson Gamble, and the floor was packed by the time Con the Artist took the stage. When LØLØ appeared, it was all plaid miniskirts and devil horns from the stage to the merch booth.
When the lights went down, LØLØ’s voice boomed over the speakers, narrating excerpts from a journal. LØLØ is not a choreographed, over-polished pop princess. Like so many artists that grew their audience from nothing, she does her best to connect with individuals in the audience. She takes her time, holds their hands, and during one memorable song, brings them on stage to dance.
“I think that people don’t want perfection,” she told Rolling Stone earlier this year. “They just want to see a live show and a special moment.”
LØLØ was very upfront about her adventures online, finding her voice, and time spent during COVID, and from the vibe you have to assume the audience had been there with her the entire time. From “The Floor is Lava” to “Faceplant,” all the hits were covered and sung along to. Speaking of which…
Must Hear Songs by LØLØ (In Our Humble Opinion):
• “death wish” (Single, 2021)
• “Hot Girls in Hell” (falling for robots, 2023)
• “u turn me on (but you give me depression)” (falling for robots, 2023)
• “Let It Go” (A Whole New Sound (Disney), 2024)
Fun fact: LØLØ was featured on a 2024 Disney punk album alongside Simple Plan, Magnolia Park, and Yellow Card, to name a few iconic bands. Check out her version of “Let It Go” from “Frozen.” It’s unexpected and a lot of fun.
LØLØ ‘s first moment of viral fame was her cover of “Hey There Delilah,” updated and sung from Delilah’s perspective. Pulling Con the Artist back on stage for a duet gave the crowd a wonderful, heartfelt moment that was honestly quite touching. Not everyone’s favorite song, but a lovely moment for everyone in the audience.
LØLØ, with several incredible songs in her library and with a stack of “Warped Tour” appearances already in the books, seems poised to breakthrough to the next level. She’s electric on stage, and animated, and we can only dream of the day she is given more space to play. Until then, another highlight concert of 2026, and something to think about until her next visit!
LØLØ Setlist:
• the devil wears converse
• pretty little wreck
• god forbid a girl spits out her feelings!
• THE FLOOR IS LAVA!
• debbie downer
• me with no shirt on
• the punisher
• 2 of us
• u turn me on (but u give me depression)
• faceplant
• Hey There Delilah
• death wish
• delusional darling
• junkie
• DON’T!
• dumbest girl in the world
• wish i was a robot
• hot girls in hell
Check out our favourite photos of the night below or head to our Facebook page for the full gallery. Thanks for attending the show with us and for checking out our review!
LØLØ
All Photo Credit: Jason Martin