Rilo Kiley @ Commodore Ballroom -- May 21, 2025

Whenever the question of ‘bands you wish you could have seen live’ comes up, my immediate answer was always Rilo Kiley. Not only had I missed seeing them before they broke up, I’ve also somehow never seen any of Jenny Lewis’ solo projects (to my shame). So when the Los Angeles group announced their reunion last year for the Sometimes When You’re On You’re Really Fucking On tour, which included a show at the Commodore Ballroom, I was just a little excited.

Unfortunately due to prior commitments, I missed the opener Morgan Nagler, arriving to the sold out Commodore not long before Rilo Kiley hit the stage. Jenny Lewis, Blake Sennett, Pierre de Reeder, and Jason Boesel were joined by Harrison Whitford as they kicked off the set to raucous ovation with “The Execution of All Things” and from there spanned all of their albums.

From “Wires and Waves” off their debut Take Offs and Landings, to “Spectacular Views” building to a chaotic finish, and the slinky slow jam “The Moneymaker” from Under the Blacklight, their infectious indie rock full of intricate narratives blasted through the room. Jenny’s voice soared on “I Never”, while Blake took over lead vocals on “Ripchord”, as the band rocked out on songs like “It’s a Hit” (featuring guest trumpet from Orenda Fink) and the heartbreakingly beautiful “Does He Love You?”, Jenny accepted flowers from the front of the stage before the song erupted into a grand finish.

Collectively waiting for this moment for fifteen years, the crowd was locked in all night. People wildly cheered when recognising a song from a single note, I saw lots of hugging & crying around me, with tons of singing along as well; the best example being “With Arms Outstretched” as Lewis handed over the chorus to the audience. I could almost believe them when they gave the standard “this crowd is the best of the tour so far!”

After more singing to “A Better Son/Daughter” — which included the tour’s namesake lyrics — the room somehow came more unglued for “Portions for Foxes”. A favourite of mine (and many others judging by the volume of the punctuating “come here!” in the song) it was incredible to finally see live, as chills crept across my arms and a smile across my face.

That finished off the main set, but with the lights down and interstitial music playing, the band was back soon enough, starting off the encore with the heart wrenching “A Man/Me/Then Jim” once again featuring Fink on trumpet. Morgan Nadler made a quick cameo to provide some dance instructions to “The Frug”, and finally the band sent everyone home with “Pictures of Success”.

Going into a show like this, it’s easy to worry a little. Was I building this up in my head too much? Is this just a cash grab reunion? Questions like that. Thankfully, those were quickly answered with a show that felt simultaneously nostalgic and timeless, Rilo Kiley on top of their game and a crowd hungry for every note. I’m not sure if they have any more planned after the tour (beyond the greatest hits album they have out soon) but if it was just a one off and that was it, it was a hit.

setlist
The Execution of All Things
Wires and Waves
Spectacular Views
The Moneymaker
Dreamworld
I Never
Close Call
Paint’s Peeling
It's a Hit
Does He Love You?
Ripchord
Silver Lining
With Arms Outstretched
A Better Son/Daughter
Portions for Foxes
(encore)
A Man/Me/Then Jim
The Frug
Pictures of Success

Stars @ Commodore Ballroom -- April 17, 2025

Six month ago, Stars stopped by the Vogue Theatre for a sold out show celebrating 20 years of Set Yourself on Fire. During that evening they teased a second round, and low & behold, last night they returned to the Commodore Ballroom for yet another sold out show, celebrating the seminal album.

Fittingly enough, the opening band was the same that opened for them about 20 years ago at Richard’s on Richards, p:ano. The Vancouver group has been on a bit of a hiatus over the last couple decades, but last year they returned for a brand new album, ba ba ba, which made up most of their set. Starting off with “what was i thinking”, Nick Krgovich and Larissa Loyva (aka Kellarissa) switched off on vocals for some chill, indie-pop songs, including the toe-tapping “mariko”, the most rocking of the set “mikey's new house”, and the suburban shoutout to “a bit of coquitlam”.
Unfortunately, their chill vibes and the growing crowd didn’t quite mix as pockets of chatter arose (or maybe I was just in an unlucky spot), but it was a good set otherwise, and I would love to see them again in a more intimate, and attentive, venue.

Not long after that, Stars took the stage; Torquil Campbell, Amy Millan, Evan Cranley, Chris Seligman, Patrick McGee, and Chris McCarron, joined by a sax player. The set started with a full playthrough of the album, the familiar introduction of “When there's nothing left to burn, you have to set yourself on fire” ringing out and the entire crowd singing along to the perennial favourite, “Your Ex-Love Is Dead”. From there, they ran through the timeless collection of songs about love and death, from the bouncy nostalgia of “Reunion” to the pure passion of “What I’m Trying to Say”, and the (sadly) still-relevant “He Lied About Death” which Torquil gave a simple introduction of: don’t fucking vote for nazis. That was followed by the absolutely gorgeous “Celebration Guns”, Amy’s immaculate vocals bringing a tear to the eye as she echoed Torq’s sentiment in her own way.

The album came to a close with a magical moment of the whole room singing along to “Calendar Girl”, but just like last time, they were not done there. The band burst into the favourite, “Hold On When You Get Love And Let Go When You Give It” and dipped their toes into the rest of their discography. From the beautiful “Window Bird”, to the manic “Trap Door”, to “Dead Hearts” which was dedicated to all the ghosts in the room.

The set ended with the classic “Elevator Love Letter” and another huge singalong, but the crowd demanded more, and of course they were back to oblige. They came back to the stage with the intensity cranked for “Take Me To The Riot” before Amy introduced a deep cut they learned so Torquil could sing it to his wife, who was in the crowd, “The Aspidistra Flies”. And finally, they capped off the night with the pure dance tune “No One Is Lose” as a sea of hands shot up into the air when they commanded “Put your hands up if you know you're gonna lose”

As they were wrapping up the Set Yourself on Fire portion of the night, Torquil mentioned that they were incredibly thankful that “for reasons best kept between you and your therapist” this album had resonated with so many people over all these years. I’m very happy that I had the chance to see it played not once, but twice over the last few months. And even though they extended the album’s anniversary tour, the band isn’t resting on that; they’re as fierce as ever, and I can’t wait to hear what’s next.

setlist
Your Ex-Lover Is Dead
Set Yourself on Fire
Ageless Beauty
Reunion
The Big Fight
What I'm Trying to Say
One More Night
Sleep Tonight
The First Five Times
He Lied About Death
Celebration Guns
Soft Revolution
Calendar Girl
Hold On When You Get Love And Let Go When You Give It
Alone
Window Bird
Trap Door
Dead Hearts
Elevator Love Letter
(encore)
Take Me To The Riot
The Aspidistra Flies
No One Is Lost

PHOTOS: Dear Rouge with Gay Nineties @ Commodore Ballroom - April 10 2025

Dear Rouge with Gay Nineties
Commodore Ballroom
April 10 2025

Photos by Christine McAvoy

Dear Rouge with The Gay Nineties @ Commodore Ballroom -- April 10, 2025

Last year Dear Rouge released their fourth studio album, Lonesome High, and have finally returned to the Commodore Ballroom for a packed Vancouver show. And not only that, they brought some old friends along with them!

Opening the evening was the return of The Gay Nineties. The Vancouver band has been on hiatus for just a few years, but Parker Bossley, Bruce Ledingham, and Malcolm Holt were joined by Pascal Le Vasseur as they kicked off with a brand new song. And while they hit a couple older ones early, like the explosive “Hold Your Fire”, the bulk of the set was new material. Including an early standout for me, “Tidal Wave”, and a fun one called (and about) “Internet, Sex, and Drugs” which Parker teased might be their next single. They wrapped up with another old favourite, “Letterman”, which had everyone in the crowd that was ‘in the know’ singing along, proving they haven’t missed a beat. Their hook-filled indie rock was as sharp as ever*, and I’m very excited to hear more from them.
(*or as Christine put it: “The Nineties are back and they’re Gayer than ever!”)

After a break, the stage lights dimmed and a single figure stood on stage, as the rest of Dear Rouge joined Danielle McTaggart and launched into “Cutting Teeth”. Early on they addressed the recent passing of Drew McTaggart’s mother, asking everyone to remember someone that couldn’t be in the room, and dedicating “Stolen Days” to her.

The set had a great ebb and flow, building up the energy with the dark & moody “Black to Gold” and the raucous “Modern Shakedown” before exploding into “Meet Me at the Rio”, and then taking it back down with the acoustic “Live Through the Night” — which Drew introduced at the only song they’ve played at every single one of their shows. Danielle made a quick change into a sparkling, fringed jacked (with tambourine to match) and — after a false start to make sure someone in the crowd was safe — “Wicked Thing” started building back up, to the frenetic energy of “Tongues” and Danielle making a toast before showing off her moves with “Not Afraid to Dance”, segueing into a cover of the No Doubt classic “Hella Good”.

But it wasn’t just for that song; the whole night Danielle barely stood still. When she didn’t have a guitar in hand or behind the keys, she was strutting around the stage, and even into the audience. As “I Heard I Had” started, she grabbed a flashing light and jumped into the crowd, making her way from one side of the Ballroom to the other, singing to, at, & with everyone around her.

The band closed out the set with “Too Close to the Heat”, but were soon back for the encore. First Danielle returned alone, on the keys and behind a single light for the haunting “Lonesome High”. The rest of the band returned as they dedicated “Garbage” to anyone going through it, and capped off the night with their latest hit “Goon”.

Dear Rouge consistently puts on incredibly fun live shows, full of energy & spirit, and this night was no different. Add on the return of The Gay Nineties, and you have a fantastic night of Vancouver music.

Dear Rouge setlist
Cutting Teeth
Blow My Heart Up
Fake Fame
Stolen Days
Black to Gold
Wallpaper
Modern Shakedown
Meet Me at the Rio
Live Through the Night
Wicked Thing
The Show
Tongues
Not Afraid to Dance [ft Hella Good by No Doubt cover]
Selfish Love
I Heard I Had
Too Close to the Heat
(encore)
Lonesome High
Garbage
Goon

The Gay Nineties setlist
Treat Me Bad
Hold Your Fire
Turn Me On
Tidal Wave
Outside Looking In
Out of Touch
Okinawa
Empty Mansions
Internet, Sex, and Drugs
Letterman

Franz Ferdinand @ Commodore Ballroom -- March 26, 2025

Aside from a festival appearance in 2022, it’s been over a decade since I last saw Glaswegian rockers Franz Ferdinand in a proper venue. So I was very excited to see a pair of shows pop up in Vancouver at the legendary Commodore Ballroom, in support of their brand new album, The Human Fear.

Thanks to some trivia commitments, I got to the venue after the opening band, Telescreens, making my way through the packed room a few minutes before the theme song from The Naked Gun blared over the speakers and Franz Ferdinand hit the stage.

Frontman Alex Kapranos was joined by Bob Hardy on bass, Dino Bardot on guitar, Julian Corrie on keys, and Audrey Tait on drums, as they launched into “Bar Lonely” from their new album, playing an hour and a half set that spanned their entire career. From their self titled debut for the cheeky “Dark of the Matinee” to the appropriately sinister “Evil Eye”, up to “Black Eyelashes” which saw Alex bust out a bouzouki for the rembetiko-influenced song.

Other highlights included the raucous dance number “Michael”, the entire crowd softly singing along with “Walk Away”, “Audacious” with its slick riff, and of course, their smash hit “Take Me Out”. As soon as the familiar intro started, the crowd lost it & were singing along to every word; I can't remember the last time I saw an audience so in sync with the song being played, and I got chills as the entire room bounced.

They parleyed that energy into the synth banger “Hooked” -- my early fave off the new album -- before closing the set with the winding twists & turns of “Outsiders”.

But of course, they were soon back out for the encore, first fielding a request for “Jacqueline” as Alex stood alone in a single spotlight before everyone else kicked in. As the show came to a close, Kapranos introduced each member of the band, as one-by-one they started their part in the “This Fire”. The stage lights turned red and everyone cut loose, crowd included, as Alex lead one last singalong, and even got the dance floor to crouch down low before springing up as the song erupted into its finish (elder millennial knees be damned).

I've seen Franz Ferdinand about a half dozen times over the years, and each & every time they amaze me with how great they are, how much energy the whole band puts forth, and how Alex has the entire crowd in the palm of his hand for the whole show. I already can’t wait to see them play again.

setlist
Bar Lonely
Dark of the Matinee
Night or Day
Walk Away
Evil Eye
Do You Want To
Audacious
No You Girls
Build It Up
Right Action
Black Eyelashes
Michael
Love Illumination
Take Me Out
Hooked
Outsiders
(encore)
Jacqueline
The Doctor
Evil and a Heathen
This Fire