Concerts Reviews
The Hives Turn the Commodore Ballroom in Vancouver Into a Garage-Rock Circus
The Swedish rock ’n’ roll circus that is The Hives stormed into the Commodore Ballroom in Vancouver, BC on September 16, leaving no doubt that their reputation as one of the most electrifying live bands on the planet is still intact. What unfolded over the course of their 90-minute set was a full-contact spectacle, equal parts chaos and choreography, all wrapped in black suits that looked absurdly sharp for how sweaty things got.
First on the bill was Nashville’s Snooper, a punk band with a chaotic edge and plenty of energy. Their set was fast and noisy, perfect for waking up the crowd. With a mash-up of garage riffs, breakneck drumming, and a lead singer who couldn’t stop bouncing around the stage, they gave the room a jolt of raw adrenaline.
Shortly after 9pm, The Hives kicked off their set with “Enough Is Enough” before slamming straight into “Walk Idiot Walk” and “Rigor Mortis Radio.” The opening trio alone set the pace: relentless, fast, and loud. Frontman Howlin’ Pelle Almqvist wasted no time scaling the barricade, leaning into the crowd like a rock preacher daring his congregation to scream louder. Spoiler: they did.
By the fourth song, “Paint a Picture,” the band pulled one of their signature tricks: freezing mid-song, standing motionless for what felt like a full minute before detonating back into the riff. It’s part theatre, part prank, and exactly the kind of chaos that keeps a Hives set from ever feeling routine.
The crowd lost it for “Main Offender,” one of their oldest and most enduring anthems. Almqvist, drenched in sweat but still impossibly charming, decided this was the moment to poke fun at Vancouver’s reputation. “You’re too Canadian, too polite,” he teased, before demanding more volume. Later in the night, with sweat dripping from his brow, he deadpanned: “I didn’t know Vancouver was in the tropics!” The joke landed, because honestly, the Commodore felt like a sauna.
That back-and-forth between Almqvist and the audience is the lifeblood of a Hives show. He doesn’t just sing at people, he works them, like a carnival barker crossed with a punk-rock dictator. He ordered people to clap louder, scream harder, even sit down on the floor during “Tick Tick Boom” and jump at his command. And the fans obeyed, grinning the whole time.
The setlist leaned heavily on classics, with “Born A Rebel,” “Stick Up,” “Bogus Operandi,” and the ever-explosive “Hate to Say I Told You So.” Each song was delivered with the kind of precision that makes you forget how chaotic it all looks. The guitars were jagged, the basslines growled, and drummer Chris Dangerous lived up to his name, driving everything with a beat that never let up.
But the chaos wasn’t just sonic. Guitarist Nicholaus Arson was a spectacle all his own, twitching across the stage like he was possessed, tossing guitar picks, and at one point smearing one across his face before flicking it into the crowd like some holy relic. If you caught it, congratulations. You’re now blessed.
And then there are the “ninjas.” Yes, actual black-clad stagehands who scurried across the stage, swapping guitars, untangling cords, and disappearing into the shadows like roadie assassins. Only The Hives would turn basic stage logistics into a theatrical bit.
The crowd was already drenched and breathless by the time the band hit “OCDOD,” “I’m Alive,” and “Countdown to Shutdown.” Each landed like a shot of adrenaline. By the time they reached “Come On,” the audience was basically singing the entire track themselves.
The main set closed, as it almost always does, with “Tick Tick Boom.” Almqvist drew every ounce of drama out of it, stretching the intro, taunting the crowd, then unleashing absolute bedlam when the riff hit. The Ballroom floor shook as hundreds of people jumped in unison.
Of course, that wasn’t the end. The encore brought “Legalize Living,” “Bigger Hole to Fill,” and finally “The Hives Forever,” a self-mythologizing closer that doubles as a mission statement. It’s bold to end a set by declaring your own permanence, but after witnessing the mayhem they conjured, it didn’t feel like bragging. It felt like prophecy.
What makes The Hives different from so many other bands still coasting on 20-year-old hits is that their live show hasn’t dulled with age. If anything, it’s sharper. They’ve figured out how to take the raw spirit of garage rock and turn it into pure theatre without losing its edge. Every freeze, every kick, every mic swing feels chaotic in the moment but lands with perfect timing.
And Almqvist himself remains one of rock’s great frontmen: funny, commanding, and just unhinged enough to make you believe anything could happen. When he ordered the Vancouver crowd to scream louder, they did. When he told them to sit, they sat. When he demanded chaos, they delivered. Few singers can control the audience that way without pyrotechnics or elaborate stage sets. The Hives do it with charisma, sweat, and sheer nerve.
By the time the final chords of “The Hives Forever” rang out, the Commodore Ballroom was a mess of bodies sticky from heat, and ears ringing. Which is exactly how a Hives show is supposed to end.
Long live The Hives. Forever, forever The Hives.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
09/19 Sacramento, CA – Ace of Spades
09/20 San Francisco, CA – The Warfield
09/22 Del Mar, CA – The Sound
09/25 Los Angeles, CA – Hollywood Palladium
10/16 Oslo, Norway – Sentrume Scene
10/18 Copenhagen, Denmark – KB Hall
10/21 Berlin, Germany – Colombia Halle
10/24 Munich, Germany – Zenith
10/25 Leipzig, Germany – Haus Auensee
10/26 Vienna, Austria – Gasometer
10/28 Zurich, Switzerland – Xtra
10/29 Milan, Italy – Alcatraz
10/31 Barcelona, Spain – Sant Jordi Club
11/02 Madrid, Spain – Wizink
11/04 Lisbon, Portugal – Sagres Campo Pequeno
11/19 Brussels, Belgium – Forest National
11/20 Paris, France – Le Zenith
11/22 Amsterdam, Netherlands – AFAS
11/24 Cardiff, UK – Utilitia Arena
11/26 Glasgow, UK – Ovo Hydro
11/28 Manchester, UK – Aviva Studios
11/29 London, UK – Alexandra Palace
12/01 Cologne, Germany – Palladium
12/02 Frankfurt, Germany – Jahrhunderthalle
12/03 Hamburg, Germany – Sporthalle
12/06 Stockholm, Sweden – Avicii Arena
More info on their website.
THE HIVES
SNOOPER
All Photo Credit: Caroline Charruyer
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