Concerts Reviews
The Offspring Supercharge Victoria With A Night of Hits
The Offspring kicked off the Canadian leg of their Supercharged World Tour in Victoria on January 22, and from the jump, it felt like more than just another tour stop. For decades, they’ve stood tall in punk rock history, firmly planted on the genre’s Rushmore alongside Green Day, NOFX, and Bad Religion. They even helped spark the rise of one of Canada’s own legends, Sum 41. The timing of this tour couldn’t be better either, landing right after the release of Supercharged, an album that pulls together different eras of the band into one fast, loud, and familiar rush. With a fresh record to celebrate and a hit-stacked catalog that spans generations, it’s easy to see why thousands showed up to sell out the Save-On Foods Memorial Centre.
Even before stepping inside, the night already felt alive. Fans swarmed the area, and more than a few leaned fully into the fun, rocking full Pretty Fly Guy fits. Once inside, that energy expanded. What felt like hundreds instantly turned into thousands, and you could feel it was one of those passing the torch kind of nights. Fans who grew up blasting Smash, Self-Titled, and Ignition brought their kids along to experience the music that helped shape their own teenage years. It didn’t take long to realize this crowd was ready to go off. But before The Offspring hit the stage, punk royalty took over.
“We promised you we’d play here again Victoria, sorry it took us 25 years.” With that, Bad Religion had the room eating out of their hands. The Cali punk icons ripped straight into classics like “Punk Rock Song,” “Recipe For Hate,” and “American Jesus,” keeping the energy sky high from start to finish. Every song hit hard, every chorus was shouted back, and by the time they wrapped up, Victoria was fully primed for what was coming next.
Then, it was go time. The Offspring burst onto the stage and wasted no time, opening with “Come Out and Play.” The reaction was instant. Fans were on their feet in seconds, screaming every word and even belting out the guitar riff like it was second nature. There was no warm up period here, just straight chaos. Noodles made his presence felt without saying a word, flashing Abolish ICE on the back of his guitar, a quiet but powerful reminder of punk’s roots. Front and center, Dexter was unstoppable. Locked in, bursting with energy, and sounding every bit as sharp as he did in the 90s. Any doubts about whether he still had it were gone before the first song even ended.
The setlist was deep, stretching across 20 tracks and touching nearly every major chapter of the band’s career. Smash, Americana, Rise and Fall, and Supercharged all got their moment. Songs like “Bad Habit,” “Hammerhead,” and “Make It All Right” sent the crowd into full meltdown mode. Fans didn’t just sing along, they gave everything back, lyric for lyric, letting the band know exactly how much these songs have meant over the years. The Offspring also kept things unpredictable, tossing in covers that somehow fit perfectly into the madness. “Hey Jude,” “I Wanna Be Sedated,” and even “In the Hall of the Mountain King” popped up. One of the most powerful moments of the night came when Dex sat down at the piano for “Gone Away,” pulling the entire arena into a quiet, emotional pause that hit just as hard as the chaos.
As the night raced toward its finish line, things went nuclear. The final stretch was pure fan service in the best way possible. “Pretty Fly (For a White Guy),” sent the place into celebration mode, and when the encore rolled around with “You’re Gonna Go Far, Kid,” before closing it all out with “Self Esteem,” the building was shaking. During “Far Kid,” a zeppelin balloon floated across the arena flashing the iconic “Dance Fucker Dance” line and the crowd happily obeyed. Confetti erupted during the final chorus, turning the moment into total chaos in the most perfect way. Between moments like that and the relentless energy these legends brought to the stage, it’s easy to understand how they’ve stayed at the top of the genre for so long. The Offspring gave Victoria a night it won’t soon forget, and if this was just the start of the Canadian run, the rest of the country is in for a wild ride.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming The Offspring: SUPERCHARGED WORLDWIDE in ‘26 Tour Dates:
Sat Jan 24 — Vancouver, BC — Rogers Arena
Sun Jan 25 — Kelowna, BC — Prospera Place
Tue Jan 27 — Prince George, BC — CN Centre
Wed Jan 28 — Grande Prairie, AB — Bonnetts Energy Centre
Fri Jan 30 — Edmonton, AB — Rogers Place
Sun Feb 01 — Calgary, AB — Scotiabank Saddledome
Thu Feb 05 — Winnipeg, MB — Canada Life Centre
Fri Feb 06 — Fargo, ND — FARGODOME
Sat Feb 07 — Sioux City, IA — Tyson Events Center
Tue Feb 10 — Evansville, IN — Ford Center
Wed Feb 11 — Grand Rapids, MI — Van Andel Arena
Fri Feb 13 — Hamilton, ON — TD Coliseum
Sat Feb 14 — London, ON — Canada Life Place
Tue Feb 17 — Peterborough, ON — Peterborough Memorial Centre
Thu Feb 19 — Ottawa, ON — Canadian Tire Centre
Sat Feb 21 — Montreal, QC — Bell Centre
Mon Feb 23 — Moncton, NB — Avenir Centre
Tue Feb 24 — Halifax, NS — Scotiabank Centre
More information at TheOffspring.com.
THE OFFSPRING
All Photo Credit: Marquise Monno
Concerts Reviews
LIVE REVIEW: The Paper Kites Bring Warmth and Quiet Charm to Vancouver
On May 20th, Australian folk band The Paper Kites brought an intimate night of their warm indie folk tones to The Centre for Performing Arts.
The band is touring in support of their newest album, If You Go There, I Hope You Find It, which sees them lean further into their warm, atmospheric indie-folk sound, delivering a reflective and intimate collection shaped by themes of home, longing and quiet hope. Compared to their last record, At The Roadhouse, which leaned into a more Americana sound, this feels more of a return to form for the band. Tunes are reminiscent of some of their earlier Twelvefour and On the Train Ride Home material that put them on the map.
At 9:00 pm, the lights dimmed in the auditorium and with no grand entrance, the band took the stage to a roar of the audience, opening with the first track of If You Go There, I Hope You Find It “Morning Gum”. In the classic Paper Kites fashion, the whole group stood around lead singer Sam Bentley’s microphone for a stripped-down intro, before tending to their main instruments and kicking in their full sound.
The Paper Kites continued to preview some of their new material, like “Change of the Wind” and “Every Town,” while mixing in some of their best on At The Roadhouse, like “Till the Flame Turns Blue” and “Black & Thunder.”
For a cover of Colin Hay’s “I Just Don’t Think I’ll Ever Get Over You”, Sam brought out opener, Donovan Woods, to help him perform the song acoustically. Showing off some of his charisma, Sam joked about breaking the number one rule and asking Hay what his song was about — ultimately getting the response that it was about drinking Whisky to get through some of the hard times. The pair delivered a beautiful rendition of the song, blending soothing vocal harmonies that earned a roaring response from the audience.
Sam introduced the band: Christina Lacy on guitar and keyboards, his brother Josh Bentley on drums, Sam Rasmussen on bass guitar and synthesizers, and David Powys on “just about everything,” including guitar, banjo, lap steel, and bongos.
The frontman reinforced just how grateful the band was to be back in Vancouver, which they have been visiting for the better part of 13 years now. He talked about their humble beginnings playing the Biltmore Cabaret and staying at the Patricia Hotel, the now SRO that sits on the cusp of the East Hastings area — definitely an eye opener for the Australian group. Getting stuck in the snow in Wyoming, The Paper Kites had to cancel their Portland show, with the band admittedly upset as they hadn’t had to cancel a show in their tenure as a group. With some hustle, The Paper Kites were able to make it to Vancouver — again, Sam expressing his deepest gratitude for fans making it out to the gig.
To a roar of the crowd, the Aussie musicians came back out for a two-song encore, starting with their hit “Bloom,” with fans helping out the band with the choruses. David Powys got a moment to shine with a tasteful banjo solo that stole the show. Ending the night, Sam egged the crowd to get on their feet as they closed with the feel-good song, “When The Lavender Blooms.”
The Paper Kites delivered an intimate collection of songs, seamlessly capturing the crowd’s hearts from the beginning. With the Centre being a 1800 capacity venue, the band has a way of making you feel like you’re in a bar, with their charm and stripped back sound. Sam shared the sentiment that each time they return, the crowds seem to grow — and it’s clear that whenever The Paper Kites are in town, passionate fans show up, with more joining every time.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
THE PAPER KITES
All Photo Credit: Hunter Soo
Concerts Reviews
LIVE REVIEW: The Last Dinner Party Turned Vancouver’s Orpheum Into Their Own Gothic Playground
There’s a thin line between theatrical and try-hard. The Last Dinner Party spend most of their live show sprinting directly at that line, then somehow vaulting over it without falling flat on their face. At the Orpheum Theatre in Vancouver on May 19, the band’s From The Pyre Tour felt huge, dramatic, occasionally ridiculous, and fully convincing anyway.
That’s harder to pull off than people give them credit for. A lot of bands borrow aesthetics: velvet curtains, religious imagery, corsets, vintage silhouettes, tragic womanhood as performance art. The Last Dinner Party actually build a world around those ideas and commit to it so fully that the audience starts behaving like they’ve entered the same universe. Walking into the Orpheum before the show felt like arriving late to an elaborate costume party where everyone had been assigned a literary archetype ahead of time with lace gloves, ribboned dresses, heavy boots, and tiny opera binoculars. One woman looked like she’d escaped from a haunted manor in 1872 ; another looked ready to front an early-2000s emo band. Somehow both made sense.
The Last Dinner Party opened with “Agnus Dei,” and immediately the whole production snapped into focus. The towering drapery, faux-stone staging, dim cathedral lighting, and the band’s carefully styled costumes could have overwhelmed the actual music in weaker hands. Instead, it sharpened it. The set design wasn’t decoration, it functioned like an extension of the songs themselves.
Frontwoman Abigail Morris remains one of the most magnetic performers working right now partly because she never performs like she’s above any of this. Plenty of singers can command a room. Morris pulls people into one. She spent nearly two hours stalking across the stage, throwing herself into songs with total conviction, then suddenly grinning between tracks like she still can’t believe the band got this big this fast. That balance matters as without it, the band’s maximalism could easily turn self-serious. Instead, the show constantly breathed.
The run of “Count the Ways,” “The Feminine Urge,” and “Caesar on a TV Screen” early in the set was absurdly strong. Guitarist Emily Roberts shredded through riffs with a refreshingly unpolished swagger compared to a lot of modern indie rock’s obsession with restraint. There were moments during “Caesar on a TV Screen” where the entire show tipped into full glam-rock spectacle. Big gestures, big harmonies, big emotions, and no apology for any of it.
Midway through the set, things got darker and more interesting. Songs from From The Pyre carried far more weight live than they do on record, especially “Woman Is a Tree” and “Rifle.” The quieter moments felt genuinely tense inside the Orpheum. You could hear the room lock in. During the eerie vocal opening of “Woman Is a Tree,” the band gathered close together beneath dim lighting while shadowy bird imagery hovered overhead. It was one of the night’s best moments.
The absence of bassist Georgia Davies, who remains off tour recovering from injury, was acknowledged warmly. Touring bassist Max Lilley handled the material well, though Davies’ absence still felt noticeable in a band this chemistry-driven. The Last Dinner Party work best when they feel like five personalities colliding together at once.
Keyboardist Aurora Nishevci quietly stole several moments throughout the night, especially during “I Hold Your Anger,” which landed with force live. The band’s harmonies remain their secret weapon. Beneath all the theatricality and visual ambition, they’re still an exceptionally tight musicianship-first band.
Before launching into “Nothing Matters,” Morris asked the crowd to put their phones away for one song. The people listened and suddenly the room felt freer and less self-conscious. The balcony shook during the chorus as people screamed every word back at the stage.
The encore leaned fully into chaos. “This Is the Killer Speaking” arrived with dance instructions and country-western absurdity. By the time the band closed with an “Agnus Dei” reprise, the crowd looked exhausted and completely won over.
The Last Dinner Party are already very good. What makes this tour exciting is that they still feel slightly dangerous around the edges. There are moments where the ambition threatens to spill over, moments where things nearly become too theatrical or too sentimental. But they should protect that feeling at all costs.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming From The Pyre Tour Dates:
05/20 Portland, OR – Arlene Schnitzer Concert Hall %
05/22 Seattle, WA – Showbox SoDo %
05/26 Sacramento, CA – Channel 24 %
05/27 Oakland, CA – Fox Theater %
05/29 Los Angeles, CA – Orpheum Theatre %
05/31 Del Mar, CA – The Sound %
06/02 Denver, CO – Mission Ballroom %
06/04 Des Moines, IA – Val Air Ballroom %
06/05 Saint Paul, MN – Palace Theatre %
06/07 Detroit, MI – Masonic Jack White Theatre %
06/09 Columbus, OH – KEMBA Live! %
06/10 Nashville, TN – The Pinnacle %
06/12 Charlotte, NC – The Fillmore Charlotte %
06/13 Atlanta, GA – The Eastern %
% with Automatic
More information here.
THE LAST DINNER PARTY
AUTOMATIC
All Photo Credit: Caroline Charruyer