Concerts Photos
Noah Reid at the Vogue Theatre in Vancouver
On Friday night, Noah Reid brought his Live Again Tour to the Vogue Theatre in Vancouver, and crowd got far more than a “hey, that’s the guy from Schitt’s Creek” moment. Sure, plenty of fans know him as Patrick Brewer, but onstage Reid made it clear he’s not an actor dabbling in music. He’s a songwriter through and through.
The set opened with a short snippet of “Runaway” before sliding into “Left Behind” and “Rivers Underground,” two of his most moving pieces. Reid’s voice carried warmth and clarity, with the kind of lived-in honesty that makes even a theatre feel like a living room. His 2-man band elevated the night, filling songs like “Got You” and “American Roads” with a textured sound that pushed them beyond their recorded versions.
Reid leaned into storytelling as much as songcraft. Between tracks, he joked with the crowd, shared anecdotes about writing in Toronto, and made space for reflective moments that matched the intimacy of songs like “False Alarms” and “Germantown.” The eight-minute sprawl of “Everything’s Fine” closed the main set with a fiery crescendo, leaving the room buzzing.
For the encore, he stripped it all back. Sitting at the piano, Reid offered a heartfelt cover of Joni Mitchell’s “A Case of You,” a nod to another Canadian great and a fitting way to end the night. It was a moment of quiet awe, the kind that lingers long after the lights come up.
Noah Reid may have first entered the cultural spotlight on television, but Friday proved his music stands firmly on its own. At the Vogue, he was simply an artist, and one well worth seeing.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Live Again Tour Dates:
9.21 – Victoria, BC – McPherson Playhouse Theatre
9.22 – Seattle, WA – Neptune Theater
9.23 – Portland, OR – Revolution Hall
9.25 – Monterey, CA – Golden State Theater
9.26 – Modesto, CA – Gallo Center for the Arts
9.27 – Thousand Oaks, CA – Kavli Theater
9.29 – Phoenix, AZ – Marquee Theater
10.1 – Santa Fe, NM – Meow Wolf
10.2 – Boulder, CO – Boulder Theater
10.4 – Lawrence, KS – Liberty Hall
10.6 – Oklahoma City, OK – Tower Theater
10.7 – Dallas, TX – Moody Performance Hall
10.9 – Memphis, TN – Graceland Soundstage
10.10 – Franklin, TN – Franklin Theater
10.11 – Chattanooga, TN – Walker Theater
10.13 – Asheville, NC – The Orange Peel
10.14 – Atlanta, GA – Buckhead Theater
10.17 – Charleston, SC – Riviera Theater 10.18 – Charlotte, NC – Carolina Theater
10.19 – Durham, NC – Carolina Theater
10.21 – Hopewell, VA – Beacon Theater
10.22 – Alexandria, VA – The Birchmere
10.23 – Red Bank, NJ – Count Basie Center for the Arts
10.25 – Phoenixville, PA – The Colonial Theater
10.26 – Northampton, MA – Academy of Music
More info on his website.
NOAH REID
SISTER RAY
All Photo Credit: Caroline Charruyer
Concerts Photos
Elevate Music Project 2026 Semi-Finals
Elevate Music Project made its return to Vancouver with a stacked semi-finals night at the Biltmore Cabaret. Six acts, six very different sounds, and a room full of people ready to back local music on a cold January night.
The lineup moved briskly, starting with Carmine. The Victoria-based, female-fronted alt-rock band sounded tight and confident, leaning into sharp hooks and emotional swings. Their songs hit that sweet spot between grit and melody, and the crowd locked in fast. Knowing this band formed almost immediately after a breakup makes their chemistry even more impressive.
Tasavoor followed and flipped the vibe completely. The three-piece blended western textures, funk rhythms, blues grit, and eastern melodies into long, winding songs that felt loose in the best way. They shared that they refuse to play songs the same way twice, and gave their set an unpredictable edge.
The Canyon Riders brought the night back to roots-driven rock. Their sound leaned hard into blues and country rock, powered by a driving rhythm section and duelling guitars that nodded to Southern rock traditions. The band played like they’d been road-tested, and the crowd responded to that honest, no-frills energy.
Snowchild Edge was one of the night’s most magnetic performers. Blending alt-hip hop, R&B, and Afro-fusion, he owned the room with ease. Mid-set, he jumped into the crowd to hype people up, breaking any remaining barrier between stage and floor. His songs carried weight, touching on identity and connection. It was definitely a set that made you stop talking and just watch.
Then came Dani Black, who made it very clear why her name carries so much buzz. Her songwriting stood out immediately, sharp and emotional, delivered with a voice that cut straight through the room. She sang like someone who’s been through it and came back stronger. There was a calm confidence to her presence that felt effortless, the kind you expect from a pop artist with serious range. The audience listened closely, and the applause said it all. We can’t wait to see what she does next!
Closing the night was Summer’s Brother, who leaned fully into art-rock theatrics. With fuzzy guitars, synths, and bold visuals, their set felt like a late-night art show wrapped in indie pop and psych-rock. They weren’t afraid to get weird, and that commitment paid off. The band’s chemistry was tight, and their genre-blurring approach gave the night a fittingly unpredictable ending.
Elevate Music Project has always been about giving Vancouver artists real opportunities, and this semi-finals night proved why the format works. If this is the level heading into the finals, the competition is wide open, and Vancouver music fans are the real winners.
The Finals will be held at the Vogue Theatre on January 22, 2026. Get your tickets here.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
CARMINE
TASAVOOR
CANYON RIDERS
SNOWCHILD EDGE
DANI BLACK
SUMMER’S BROTHER
All Photo Credit: Caroline Charruyer
Concerts Photos
The Academy Is… Bring ‘Almost Here’ 20th Anniversary Tour to Los Angeles
Attention! Attention! All your eyes and ears are turned towards the Belasco Theater on a cold Friday night in Downtown Los Angeles in December, as The Academy Is… comes to Los Angeles in front of a capacity crowd at this historic 1926 venue. TIA were playing a huge set on this tour, with a lot of songs coming off the album Almost Here, which was celebrating its 20th anniversary.
The band was joined by Slow Joy, fronted by mastermind Esteban Flores. The band was energetic and really got the crowd moving and interacting. Their live set is punchy pop rock mixed in with heavy rock, emo, and bit shoegazy at times. Definitely something the crowd at this show could easily get behind. The band played with nothing to lose, making sure to remind everyone that while you came to see TAI, you would not forget Slow Joy. Not one bit.
The Academy Is… stepped onto the stage, only to be illuminated into light once “ATTENTION ATTENTION” kicked in to a much higher gear, and the crowd really started to chant and sing along with singer William Beckett making sure to ask the crowd if they were here to have fun and get involved in singing as loudly as humanly possible.
The band moved into “Seasons,” which got the crowd dancing with its sublimely fun guitar harmonic parts, and danceable drum beat that moves into a soaring chorus that you’d sing at the top of your lungs. Beckett moved onstage with such ferocity and suave, as he danced and preened his way into the crowd that was clearly having the best times of their lives, and we’ve only just started.
The band moved into “Slow Down,” with its ambient sound, absolute pristine, and heavier live. Beckett moves onstage like a pied piper, singing “kiss me like an over dramatic actor, that’s starving work”, perhaps a simple nod to the nature of the not so simple lives of Hollywood and the industry as a whole.
Check out our favorite photos of the night below or head to our Facebook page for the full gallery!
THE ACADEMY IS…
SLOW JOY
All Photo Credit: John McCrary