Concerts Photos
Lauren Spencer Smith at MTelus in Montreal
On February 24th, 2026, Lauren Spencer Smith’s The Art of Being a Mess tour made its stop in snowy Montreal, Canada, at MTELUS. As fans trickled into the venue, they were treated to a beautiful and fun opening performance by “fairy-princess” Maisy Kay. She wore a beautiful layered and whimsical dress, and sported her iconic butterfly microphone. It was an excellent start to the event, and set a tone of dancing, fun and good energy to the night.
Next up was a second opening performance by Sadie Jean, whose indie pop music easily had fans swaying and dancing along. Her set included songs such as “I Tried”, “Somebody’s Everything”, and “WYD Now?” She took the time to wave and interact with fans, even taking a few gifts such as a bedazzled cowboy hat, and a Quebec flag designed for her.
Finally, fans buzzed in excitement as the main act, Lauren Spencer Smith took the stage. Her stage design was intricate and fun, featuring a telephone booth, a bench and a “Sad Girl on a Bench” tissue box, and various “street signs” that had references to the themes of her music. Her set opened with “IF KARMA DOESN’T GET YOU (I WILL)”, an intensely upbeat song that every fan in the room knew the words to. A few balloons were thrown into the air as the set continued, where “28” was performed on the bench mentioned earlier. Smith’s setlist consisted of 20 songs, and it was truly an emotional rollercoaster between soft and heavy themes, which felt like a perfect reflection of her discography. During the set, she continued the tradition of taking a picture with the crowd, which serves as a wonderful memory for fans to look back on.
Closing with “Fingers Crossed” and “Sticks & Stones”, Lauren Spencer Smith thanked the crowd for the night, and headed off stage to the sound of adoring cheers, and the energy of a great night!
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
February 28—Detroit, MI—The Fillmore
March 2—Indianapolis, IN—Egyptian Room at Old National Centre
March 3—Chicago, IL—Byline Bank Aragon Ballroom
March 4—Madison, WI—The Sylvee
March 6—Kansas City, MO—Uptown Theater
March 7—Minneapolis, MN—The Fillmore
March 10—Denver, CO—The Fillmore
March 11—Salt Lake City, UT—The Union
March 13—Phoenix, AZ—The Van Buren
March 14—Anaheim, CA—House of Blues
March 17—Los Angeles, CA—The Wiltern
March 18—San Francisco, CA—The Masonic
March 19—Sacramento, CA—Ace of Spades
March 21—Portland, OR—Roseland Theatre
March 22—Vancouver, BC—The Orpheum
March 23—Seattle, WA—Moore Theatre
More information on the tour here.
LAUREN SPENCER SMITH
SADIE JEAN
MAISY KAY
All Photo Credit: Ashley Bellam
Concerts Photos
Summer of ’99 Tour: Creed Gives Winnipeg a Night to Remember
Some nights disappear by the time you get home. This wasn’t one of them. From the first note to the final encore, Canada Life Centre never stopped singing with Creed. Beat after beat, lyric after lyric, hundreds of voices carried the night. If you weren’t there, you genuinely missed something special.
Opening the night was Mammoth. Before jumping into the set, Wolfgang Van Halen asked the crowd how many had seen the band before and how many were first-timers. The cheers landed almost perfectly down the middle.
I also found out he was Eddie Van Halen’s son, my expectations shot through the roof. That’s a heavy name to carry. Songs like “The End,” “The Spell,” “Distance,” and “I Really Wanna” showed exactly why Mammoth is building its own reputation. By the end of the set, he wasn’t just Eddie’s son, he was Wolfgang Van Halen.
Next came Big Wreck, a band that somehow gets even better live. Ian Thornley’s guitar work was effortless, floating between delicate melodies without missing a beat. “The Oaf,” “Come Again,” and “Albatross” sounded massive. Every instrument cut through cleanly, every lyric landed. Big Wreck are definitely one of Canada’s strongest live rock bands.
Then everything shifted. Long before the lights dropped, the arena had already decided who they came for.
“Creed! Creed! Creed!”
The chant rolled across the building before the band even stepped on stage. The opening blast of “Bullets” hit with fire shooting into the air, smoke pouring across the stage. They played like a band with something left to prove. Audiences were locked in just like the band.
The set moved through “Weathered,” “On My Sleeve,” “My Own Prison,” “What If,” “One,” “What’s This Life For,” and “With Arms Wide Open.” Every chorus came back twice as loud as it left the stage. Thousands of phone lights lit up the arena.
After a short pause, the encore delivered exactly what everyone had been waiting for. “One Last Breath.” The crowd barely let Stapp finish a line before taking over. Then came “My Sacrifice,” and for a few minutes, the band almost disappeared beneath the voices around them. That’s what made this show hit differently. The show was about hearing songs that still connect, still fill arenas, and still have thousands of people screaming every word like they were written yesterday.
Check our our favourite photos of the night below or head to our Facebook page for the full gallery!
CREED
BIG WRECK
MAMMOTH
All Photo Credit: Nischal Karki
Concerts Photos
Coheed and Cambria Bring “This Is Our War” to Ottawa
Hard Rock Hotel & Casino Ottawa – July 14, 2026
There’s a particular kind of chaos that follows Coheed and Cambria into a room, and Ottawa got the full dose of it on a Tuesday night that felt more like a Saturday. Twenty-plus years into their run, and still touring behind last year’s Vaxis – Act III: The Father of Make Believe, the New York prog-rock lifers proved once again that a good story and a great riff are not mutually exclusive.
The Openers: Cevilain Own Their Hometown Stage
Before the headliners even hit the stage, the local crowd already had something to cheer for. Cevilain, Ottawa’s own, got the rare hometown-opener treatment, and they didn’t waste it. Tight, loud, and relishing the size of the room, the band tore through a set that had the front rows moving well before Coheed‘s set change. There’s something different about watching a band play in their own city, and that energy was written all over the performance.
The Headliners: Hair, Harmonics, and the Keywork
By the time the house lights dropped, the room was packed shoulder to shoulder. Claudio Sanchez took the stage exactly as fans expect him to, guitar slung low and hair a wall of curls.
The production leaned hard into the band’s sci-fi mythology, with the “keywork” logo splashed across the backdrop in shifting reds, blues, and greens throughout the night. Sanchez spent as much time airborne, leaping, crouching, and prowling the lip of the stage, as he did locked into the fretboard, and the rest of the band matched the intensity beat for beat. The rhythm section anchored the heavier cuts while the guitar work carried the band’s trademark blend of melodic hooks and progressive sprawl.
Between songs, the crowd took over almost as much as the band did, fists in the air, singalongs on the choruses, and no shortage of phones raised to catch a moment.
The Takeaway
For a band this deep into a catalog built on interlocking concept albums, Coheed and Cambria‘s live show still manages to feel less like a history lesson and more like a release valve. Ottawa showed up ready to shout every word back, Cevilain proved a hometown opening slot is nothing to waste, and by the time the last chord rang out, it was clear this stop on the This Is Our War tour earned its place in the run.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
COHEED AND CAMBRIA
CEVILIAN
All Photo Credit: Kieran Delport