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: 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