Concerts Reviews
Live Review – Dua Lipa in Vancouver: The Dance Party We’ve All Been Waiting For!
When the lights dimmed and the familiar beat of “Physical” filled the air at Rogers Arena in Vancouver on April 1, 2022, it marked the end of a long and uncertain hiatus from live music for many fans. Dua Lipa‘s Future Nostalgia Tour had arrived in Vancouver, and it was clear from the outset that this would be a night to remember.
As the first concert post-COVID for many attendees, the anticipation was palpable. The crowd, eager to relive the thrill of live music, was in for a treat. Dua Lipa, with her signature blend of charisma and talent, had something special in store.
The setlist for the evening was a journey through Dua Lipa‘s discography, featuring hits and fan favourites that had the audience on their feet from start to finish. From “Physical” to “Hotter Than Hell” to “Don’t Start Now,” the show was a rollercoaster of danceable beats and powerful vocals.
The show kicked off with “Physical”, and right away, Dua Lipa‘s energy was at the top. The crowd joined in, dancing and revelling in the sheer joy of being at a live concert once again. “New Rules,” “Love Again,” and “Cool” (featuring rollerblading dancers!) followed, each met with cheers and applause.
Dua Lipa created an immersive experience for almost 2 hours. The stage production, complete with stunning visuals and incredible dancers, added another layer to the performance. The production design was a blend of futuristic elements and nostalgic references, complementing the “Future Nostalgia” theme. Special shout-out to the giant inflatable lobster during “We’re Good” – MVP of the night!
Midway through the set, songs like “IDGAF”, “We’re Good”, and “Good in Bed” kept the energy high, but it was “One Kiss” and “Electricity” that turned the arena into a massive dance party.
As the night progressed, Dua Lipa took a moment to address important issues, performing “Boys Will Be Boys”, a song that carries a powerful message of empowerment and gender equality. The audience was in for a treat as her collaboration with Elton John brought the spirit of the legendary artist to the stage. “Levitating” and “Future Nostalgia” left the crowd on a euphoric high, and the encore of “Don’t Start Now”, including her infamous dance move as a cheeky nod to her determination to grow as an artist, was the perfect way to close out the show.
This performance was a collective celebration of the return of live music, and Dua Lipa did not disappoint. The Future Nostalgia Tour stop in Vancouver was not just the last North American show before heading to Europe; it showed the power of music to unite and uplift.
As the night concluded, and fans spilled out of Rogers Arena, the smiles on their faces told the story. Post-COVID Vancouver was ready to dance, and Dua Lipa had provided the soundtrack for a night of pure joy.
All Photo Credit: Caroline Charruyer – taken from our seat with a point & shoot camera
Concerts Reviews
LIVE REVIEW: A Sold-Out Night of Performance Art With Sudan Archives
Words by Kali Moreno
Photos by Kelli Rothwell
A sold-out night at The Pearl set the tone for a show that felt half concert, half art installation. Sudan Archives brought her genre-blurring world to Vancouver following the release of The BPM in 2025, with support from Cain Culto.
Cain Culto confidently navigated an energetic, multi-media set backed by Indigenous, Latin American, and Bluegrass influences – what he calls Kentucky Latin Art-Pop. As he gradually shed layers of clothing, he added homemade props to deliver his song’s messages of empowerment and resistance in both Spanish and English. His musical skills as a vocalist and violinist, paired with his artistic expression as a visual artist, created a riveting piece of performance art.
Dressed in a skin-tight, full body suit and wearing otherworldly grey contact lenses, Sudan Archives commanded a sold-out stage for her one-woman set at The Pearl. The deeply human themes of her songs, which sit in genre around house, techno, and R&B, were shared with the rowdy audience alongside recurring mechanical sounds and choreographed robotic movements. This examination of technology and humanity reminded that her artistry and expression transcend her talents as a singer, violinist, and beat-maker. Sudan Archives performed three encore songs, jumping off the stage to dance with the screaming crowd before leaving Vancouver with the parting words: “y’all are fucking lit.”
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
02-18 San Francisco, CA – Regency Ballroom
02-19 San Diego, CA – Music Box
02-20 Los Angeles, CA – The Fonda Theatre
More info on Sudan Archives’ website.
SUDAN ARCHIVES
CAIN CULTO
All Photo Credit: Kelli Rothwell
Concerts Reviews
LIVE REVIEW: The Captain of the Castro: Why Sam Smith’s Residency Is San Francisco’s New Sanctuary
Words by Starr Lee
SAN FRANCISCO- After an intimate residency in Brooklyn earlier this year, Sam Smith has brought the concept west, settling into San Francisco’s newly reopened Castro Theatre for a five-week run that feels deliberate and personal.
The neon marquee glows against the fog like it has something to say. Inside the 1,400-capacity movie palace, restored after a $41 million renovation, the main level fills quickly. No floor seating. Just a standing crowd packed beneath the balcony, bodies shoulder to shoulder, faces tilted toward the stage. Above them, fans lean over the railing, drinks in hand, waiting.
Smith walks out without fanfare.
They open with “Lay Me Down,” nearly motionless beneath a single spotlight. Dressed in a structured captain’s hat and a sweeping lace coat fastened with an oversized flower pendant, they look like a romantic voyager arriving somewhere that already feels familiar. The first note is soft, almost cautious. Then it opens.
In a room this size, nothing escapes. The Castros’ acoustics catch the grain in Smith’s tenor, the slight ache at the edge of sustained notes, the inhale before a chorus swells. The crowd is silent, standing still, listening.
When “I’m Not the Only One” begins, the temperature shifts. Smith lowers their voice for the first verse, almost speaking the lines before lifting into the chorus. On “You and me, we made a vow,” their voice tightens just slightly, intentional and controlled. By the second refrain, the crowd is singing quietly along. Not screaming. Not overpowering. Just enough to be felt. Smith steps back from the mic for a beat and lets the lyric hover before reclaiming it with a steady rise. The moment feels shared rather than performed.
After the second song, Smith looks out across the standing crowd below the balcony.
“This city means a lot to me,” they say. “My first show here, I was 20 years old.”
They tell a story about being left alone in San Francisco while a partner explored the city without them. About wandering through neighbourhoods by themselves. About unexpectedly falling in love with the place. “It feels very full circle to be here for five weeks,” they admit, scanning the room.
Then they squint toward the front.
“Wait. Were you here last night?”
A fan screams.
“Oh my God. You’re doing the residency properly. I love that.”
Laughter spreads across the floor and up to the balcony. That’s the difference when an artist stays in one place. The room starts to recognise itself.
Midway through the set, the lace coat slips away, revealing a custom Vivienne Westwood look: a black poet’s shirt with dramatic sleeves, tailored cheeky shorts, towering heeled boots striking sharply against the stage. The shift feels freeing. Smith moves differently now. Looser. More playful.
They introduce a new track, “My Guy,” sharing that for the first time in their career, they are writing from a place where the love is reciprocated. Followed by a cover of Erasure’s “A Little Respect”, “It’s a Wednesday,” they laugh, “but I need you to shake your titties.”
The balcony answers first.
A sleek blend of “Ain’t Nobody” and “I’m Not Here to Make Friends” turns the theatre intoa late-night dance floor. But soon they bring the energy back down to another cover
Later, bathed in deep blue light, Smith steps toward the piano for “Angel From Montgomery.”
“It took me eight years to finally listen to Elton and sing this,” they admit.
The arrangement is stripped back to piano and voice. No embellishment. The lower register carries weight. The higher notes remain clear and measured. When the final line fades, the room holds still for a second longer than expected before applause breaks through.
Sam Smith’s residency at the Castro Theatre runs through Feb.10th-March 14th, 2026. Tickets are available via the theatre’s official website. With just 1,400 standing spots per night and word spreading quickly, availability is limited.
Five weeks in one theatre does something rare. It turns a concert into a chapter. And this one is still being written.