stadium tour vancouver review

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Motley Crue in Vancouver at BC Place – 2022 Stadium Tour – PHOTOS/VIDEO – Fan Review – Def Leppard/Poison/Tommy Lee/Nikki Sixx/Vince Neil/Mick Mars

Vancouver!! See you tonight‼️

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Season 3 of I Am A Killer on @netflix and room service. Now this a day off. Tomorrow we play BC Place Stadium here in #Vancouver then #Edmonton #SanFrancisco and finish this leg off in #LasVegas 🚀 Been a kick ass summer. We’re off till we all start up again in #February 🏴‍☠️🤟🏽 — 📷 (@NikkiSixx) September 2, 2022

#Vancouver #Canada @bcplace – just landed & I’m so ready to rock. #TheStadiumTour pic.twitter.com/E5TyKEoQbK — Bret Michaels (@bretmichaels) September 2, 2022

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Mötley Crüe is closing in Vegas. BTW Vince did not suck. He was really good here in Vancouver. I’ve seen them many times over the years and tonight he sounded really good. — Pietro de Santis ♠️ (@FatalifSwallowd) September 3, 2022

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#Vancouver @bcplace #Canada thank you for being awesome…much love & respect. See you all soon! #TheStadiumTour BC Place pic.twitter.com/M0RrGnQT47 — Bret Michaels (@bretmichaels) September 3, 2022

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The 1987 Motley Crue/Guns N’ Roses Tour Story – INSIDE THE TOUR – Axl Rose, Tommy Lee, Slash, Duff McKagan, Steven Adler – VIDEO

Michael Monroe Meets Vince Neil for the First Time – Motley Crue – Hanoi Rocks – 2023

Nikki Sixx Gives Mötley Crüe Update from the Studio: “Bob Rock is pushing us hard” – 2023

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Motley Crue in the Studio with Bob Rock – 2023 – John 5, Tommy Lee, Nikki Sixx, Vince Neil

John 5 w/ Vince Neil, Nikki Sixx, Tommy Lee Before Entering the Studio – #MotleyCrue – 2023

Tommy Lee Responds to Backlash: “I’m the gayest MF around” – 2023

NEW Motley Crue? Nikki Sixx: “We’re gonna go in the big studio next week” – 2023 – w/ John 5 & Tommy Lee

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Mötley Crüe
September 2, 2022 Setlist

Mötley Crüe Setlist at BC Place Stadium, Vancouver, BC, Canada

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Tour: The Stadium Tour Tour statistics Add setlist

Song played from tape Breaking News Report Play Video
Wild Side Play Video
Shout at the Devil Play Video
Too Fast for Love Play Video
Don't Go Away Mad (Just Go Away) Play Video
Saints of Los Angeles Play Video
Live Wire Play Video
Looks That Kill Play Video
The Dirt (Est. 1981) Play Video
Rock and Roll, Part 2 / Smokin' in the Boys Room / White Punks on Dope / Helter Skelter / Anarchy in the U.K. Play Video
Home Sweet Home Play Video
Dr. Feelgood Play Video
Same Ol' Situation (S.O.S.) Play Video
Girls, Girls, Girls Play Video
Primal Scream Play Video
Kickstart My Heart Play Video

Edits and Comments

20 activities (last edit by Luke71 , 4 Sep 2022, 15:48 Etc/UTC )

Songs on Albums

Don't Go Away Mad (Just Go Away)
Dr. Feelgood
Kickstart My Heart
Same Ol' Situation (S.O.S.)
Girls, Girls, Girls
Looks That Kill
Shout at the Devil
Too Fast for Love
Primal Scream
Rock and Roll, Part 2 / Smokin' in the Boys Room / White Punks on Dope / Helter Skelter / Anarchy in the U.K.
Saints of Los Angeles
The Dirt (Est. 1981)
Home Sweet Home

Complete Album stats

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Bc place stadium.

Poison Add time Add time
Joan Jett and the Blackhearts Add time Add time
Classless Act Add time Add time
Def Leppard Start time: 7:30 PM 7:30 PM
Mötley Crüe This Setlist Start time: 9:30 PM 9:30 PM

Mötley Crüe Gig Timeline

Aug 28 2022 Petco Park San Diego, CA, USA Start time: 7:30 PM 7:30 PM
Aug 31 2022 T-Mobile Park Seattle, WA, USA Start time: 7:30 PM 7:30 PM
Sep 02 2022 BC Place Stadium This Setlist Vancouver, BC, Canada Start time: 9:30 PM 9:30 PM
Sep 04 2022 Commonwealth Stadium Edmonton, AB, Canada Add time Add time
Sep 07 2022 Oracle Park San Francisco, CA, USA Start time: 7:30 PM 7:30 PM

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Tour Update

Mötley crüe & def leppard - the stadium tour.

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The Stadium Tour hits Vancouver on September 2

Live Nation has announced that The Stadium Tour will touch down at BC Place Stadium on Friday, September 2.

The '80s-oriented hard-rock/glam-metal tour features coheadliners Mötley Crüe and Def Leppard , as well as Poison and Joan Jett & the Blackhearts.

A fifth band, Classless Act, will open the show.

Tickets go on sale to the general public on February 25 at 10 a.m. at Ticketmaster, and you can find them here .

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The Stadium Tour: Def Leppard & Mötley Crüe, Poison, Joan Jett & The Blackhearts

BIGGEST NORTH AMERICAN STADIUM TOUR OF 2022 KICKS OFF THIS JUNE

Over 1 million tickets already sold 5 new shows added, new dates on sale starting feb. 25 at 10 am local time on livenation.com.

After two summers of delays it is FINALLY happening!! The world’s most iconic and celebrated rock legends will hit the road together this summer for a coheadlining tour SO MASSIVE that it could only be held in North America’s biggest stadiums. THE STADIUM TOUR featuring, MÖTLEY CRÜE, DEF LEPPARD with POISON and JOAN JETT & THE BLACKHEARTS will hit select cities in the U.S. and Canada where each band will bring their electrifying stage shows while promising to perform their stadium sized anthems. Produced by Live Nation, the summer tour is set to steamroll through North America starting June 2022.

Due to fan demand, the tour is adding 5 all new stadium shows to the epic run. Tickets for the new dates will go on-sale to the general public beginning Friday, February 25 at 10 am local time at www.LiveNation.com , check local listings for details. Def Leppard & Mötley Crüe VIP offerings for the 5 new shows will be available coinciding with the general onsale next Friday Feb. 25 at 10 am local time.

Citi is the official card of The Stadium Tour. Citi cardmembers will have access to purchase presale tickets for Indianapolis and Las Vegas shows beginning Tuesday, February 22 at 10 am local time until Thursday, February 24 at 10 pm local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com . For Toronto, Vancouver, and Edmonton shows American Express® Card Members can purchase tickets before the general public beginning Tuesday, February 22 at 10 am local time until Thursday, February 24 at 10 pm local time.

Following the huge success of their NETFLIX biopic THE DIRT, Mötley Crüe has seen a massive surge in new audience with fans around the world demanding the band tour again. This led to the band members reuniting and announcing that “Mötley Crüe is back” in 2019. While The Dirt caused a meteoric 350% increase in streams of Mötley Crüe’s music across all platforms and the younger 18-44 demographic now represents 64% of the band’s fanbase most of the new fans have never seen any of the band’s legendary live shows that Crüeheads have relished for 4 decades. In 2021, Mötley Crüe celebrated their 40th band anniversary, as well as the 40th birthday of their iconic debut album, TOO FAST FOR LOVE. The 35th anniversary of their GIRLS, GIRLS, GIRLS hit album is coming up on May 15. Mötley Crüe have sold over 100 million albums worldwide, achieving 7 platinum and multi-platinum albums, 9 Top 10 albums, 22 Top 40 Mainstream Rock hits, 6 Top 20 Pop singles and 3 GRAMMY nominations. The band have amassed close to 5 billion streams across digital platforms. They have over 15 million social media followers, a New York Times best-seller and a star on the Hollywood Walk Of Fame. The band is ready to deliver an over the top stage show packed full of hit songs.

“It’s on! We don’t think we’ve ever looked forward more to kicking off a tour than this one. We can’t wait to finally see all the fans across North America again. Get ready for a wild ride this summer!” Mötley Crüe said in a joint statement.

ROCK & ROLL HALL OF FAME INDUCTEES Def Leppard are one of the most important forces in rock music. In 2019, the icons closed out a sold-out worldwide tour including a North American stadium run & headlining the UK’s Download Festival to 90k screaming fans. Def Leppard’s star continues to rise and prevail. The band have amassed a staggering 5.5 billion streams since 2018, reaching a younger 18-44 demographic that now represents 58% of their fanbase. Additionally, the band have garnered an impressive 15 million followers across their social media platforms. Def Leppard also celebrates the landmark 45 th anniversary of their formation this year, marking 45 years of legendary rock ‘n’ roll history making. Def Leppard’s influential career crosses generations and includes 110 million records sold, numerous hit singles and ground-breaking multi-platinum albums—including two of the best-selling albums of all time, Pyromania and Hysteria, both of which are certified Diamond (10x platinum).

“On behalf of the band, we’re beyond thrilled that the stadium tour is finally happening this summer … it’s been a while coming and we can’t wait to get back on stage again & we can’t wait to see you in one of the many stadiums soon!” said Joe Elliott.

POISON will be bringing a rocking real and relevant no holds barred thunderous live show to the Stadium tour this summer with the all original lineup of Bret Michaels, C.C. DeVille, Bobby Dall and Rikki Rockett. POISON will be unleashing an onslaught of hit after hit songs in its set. The humanitarian of the year, two years running, Michaels along with POISON is known to bring a unique style of passionate high energy, sincere gratitude and a positive attitude. Michaels engages all the fans and makes it an absolute epic ride of true live music. Together With C.C.Deville on guitar, Bobby Dall on bass, and Rikki Rockett on drums POISON will rock the stadium with a chemistry that will bring a big summer mega party vibe and Michaels promises to give 1000 % on the stage as the hotter it gets the harder POISON promises to rock!!!

Poison’s Bret Michaels also added: “There are not enough words to thank the three generations of fans for making this such an exciting, record breaking, historical tour with the fastest sell outs in history at these stadiums.”

Joan Jett grew up during a time when rock ‘n’ roll was off limits to girls and women, but as a teenager, she promptly blew the door to the boys’ club right off its hinges. After forming her band the Blackhearts in 1979, with whom Jett has become a Rock and Roll Hall of Fame inductee, she has had eight platinum and gold albums and nine Top 40 singles, including the classics “Bad Reputation,” “I Love Rock ‘N’ Roll,” “I Hate Myself For Loving You,” and “Crimson and Clover.” With a career that has spanned music, film, television, Broadway, and humanitarianism, Joan Jett remains a potent force and inspiration to generations of fans worldwide. As a producer, she has overseen seminal albums by Bikini Kill, and the Germs’ LA punk masterpiece ‘GI.’ Jett and Kenny Laguna (her longtime producer and music partner) co-founded Blackheart Records from the trunk of Kenny’s Cadillac after rejections from no less than 23 labels. 40 years later, Blackheart is a thriving entertainment company producing music, film and television, and continues to champion emerging bands. Joan Jett and the Blackhearts continue touring the globe with headlining shows alongside fellow rock legends like The Who, Green Day, Heart, and Foo Fighters. After two COVID-19 postponements, the group will return to the road in summer 2022 for The Stadium Tour with Def Leppard, Motley Crue and Poison. ‘Bad Reputation,’ a documentary about Jett’s life, premiered to critical acclaim at the 2018 Sundance Film Festival and is now available for streaming.

“We are so excited to be back out on the road! We missed doing what we love most and can’t wait to see the fans out there again!” said Joan Jett and the Blackhearts.

Emerging rock band Classless Act, signed to Better Noise Music, is set to open the tour. With the release of their single “Give It To Me” in 2021, the band has already received critical praise from the likes of rock media including SPIN, Loudwire, and more. Mötley Crüe’s Tommy Lee was an early follower of the band and is excited to have them join him and his bandmates on the road, saying, “I remember when we went out with Ozzy in 1984 and how it was an insane game changer!! We literally blew up after having that opportunity to play live in front of 20,000 people every f***ing night! Since then, we’ve always felt it was important to help new bands; whether it was Guns N Roses, Skid Row or so many others. This summer we’re gonna help out Classless Act.”

THE STADIUM TOUR 2022 DATES:

New Shows Highlighted

Thursday, June 16 Atlanta, GA Truist Park

Saturday, June 18 Miami, FL Hard Rock Stadium

Sunday, June 19 Orlando, FL Camping World Stadium

Wednesday, June 22 Washington, DC Nationals Park

Friday, June 24 Queens, NY Citi Field

Saturday, June 25 Philadelphia, PA Citizens Bank Park

Tuesday, June 28 Charlotte, NC Bank of America Stadium

Thursday, June 30 Nashville, TN Nissan Stadium

Saturday, July 2 Jacksonville, FL TIAA Bank Field

Tuesday, July 5 St. Louis, MO Busch Stadium

Friday, July 8 Chicago, IL Wrigley Field

Sunday, July 10 Detroit, MI Comerica Park

Tuesday July 12 Hershey, PA Hersheypark Stadium

Thursday, July 14 Cleveland, OH FirstEnergy Stadium,

Home of the Cleveland Browns

Friday, July 15 Cincinnati, OH Great American Ball Park

Sunday, July 17 Milwaukee, WI American Family Field

Tuesday, July 19 Kansas City, MO Kauffman Stadium

Thursday, July 21 Denver, CO Coors Field

Friday, August 5 Boston, MA Fenway Park

Saturday, August 6 Boston, MA Fenway Park

Monday, August 8 Toronto, ON Rogers Centre

Wednesday, August 10 Orchard Park, NY Highmark Stadium

Friday, August 12 Pittsburgh, PA PNC Park

Sunday, August 14 Minneapolis, MN U.S. Bank Stadium

Tuesday, August 16 Indianapolis, IN Lucas Oil Stadium

Friday, August 19 Houston, TX Minute Maid Park

Sunday, August 21 San Antonio, TX Alamodome

Monday, August 22 Arlington, TX Globe Life Field

Thursday, August 25 Glendale, AZ State Farm Stadium

Saturday, August 27 Inglewood, CA SoFi Stadium

Sunday, August 28 San Diego, CA Petco Park

Wednesday, August 31 Seattle, WA T-Mobile Park

Friday, September 2 Vancouver, BC BC Place

Sunday, September 4 Edmonton, AB Commonwealth Stadium / Stade du Commonwealth

Wednesday, September 7 San Francisco, CA Oracle Park

Friday, September 9 Las Vegas, NV Allegiant Stadium

About Live Nation Entertainment

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit www.livenationentertainment.com .

MEDIA CONTACTS:

Live Nation U.S. Concerts:

Monique Sowinski | [email protected]

The 10 best rock concerts I ever saw at Vancouver’s BC Place Stadium

By steve newton.

Vancouver has been all abuzz lately after the Rolling Stones announced that the only Canadian date on its 2024 North American tour will be a show at the city’s downtown stadium, BC Place, on July 5.

Even local politicians got in on the act, with Mayor Ken Sim recording a welcoming message to the Stones while an image of their iconic lips-and-tongue logo was projected onto City Hall.

“Vancouver has the biggest Rolling Stone (sic) fans and they are going to lose their shit next summer when you guys are rocking it out at BC Place,” said Sim on social media.

The Stones have played the stadium three times before–in 1989, 1994, and 2006–and two of those gigs are among the best concerts I’ve witnessed at the venue, which can pack as many as 65,000 people in for shows.

Here’s my reviews of the 10 most memorable BC Place rock concerts I’ve seen to date:

Paul McCartney, November 25, 2012

rebecca blissett photo

Pretty well all of the world’s biggest pop and rock acts have played Vancouver since the ’60s. The Rolling Stones, the Who, Led Zeppelin, Pink Floyd, Bob Dylan, Bruce Springsteen, Elton John, U2, Guns N’ Roses—our city has played host to all of them over the last four decades or so. The only huge name that hadn’t made it here since the decade of discontent, it seems, was Paul McCartney.

That all changed last night, of course.

For the first time since the Beatles played Empire Stadium in August of ’64, McCartney’s violin-shaped Hofner bass was visible to the hordes of Vancouverites who’d followed every moment of the music legend’s life since the Fab Four released “Love Me Do” back in ’62.

To make things even more special, rumours were rampant that Springsteen himself was going to fly in in advance of his show at Rogers Arena tonight (November 26) so he and his pal could finish the set they started in London’s Hyde Park last July before being silenced by plug-pulling authorities who forgot that curfews don’t count when it comes to the Beatle ‘n’ the Boss.

As it turned out, though, Springsteen was a no-show—damn those rumour-mongers!—but it didn’t matter all that much. What the concert lacked in additional star power it more than made up for with additional song power. During his marathon three-hour set McCartney performed no fewer than 38 songs, the majority stone-cold Beatles classics.

And you know that can’t be bad.

The Beatles tunes chosen tended, obviously, towards the ones McCartney sang lead on and/or had the main role in composing, the universal “Lennon-McCartney” songwriting credit notwithstanding. But he didn’t forget his old bandmates, inserting a snippet of John Lennon’s “Give Peace a Chance” into “A Day in the Life”, and pulling out the ukulele George Harrison once gave him for a version of the latter’s beloved Abbey Road hit, “Something”. There was no mention at all of Ringo Starr, although the famously affable drummer’s happy-go-lucky spirit was felt in the positive vibes put out by McCartney’s ace skin-basher, Abe Laboriel Jr.

The most “McCartneyish” Beatles numbers were the ballads he performed solo on acoustic guitar, including “Blackbird”, “And I Love Her”, and, of course, “Yesterday”, which kicked off his second encore, and was followed by the Wings hit “Mull of Kintyre”, which featured an appearance by the Delta Police Pipe Band. The evening’s other Wings songs were “Band on the Run”, “Jet”, “Junior’s Farm”, “Mrs. Vandebilt”, “Nineteen Hundred and Eighty-Five”, “Live and Let Die” (which boasted stunning pyrotechnics), and “Let Me Roll It” (which included a few bars of Jimi Hendrix’s “Foxy Lady”). Conspicuous by their absence were any songs from Wings’ follow-up to Band on the Run , Venus and Mars .

Besides Laboriel, McCartney’s touring band includes keyboardist Paul Wickens and guitarists Rusty Anderson and Brian Ray, all of whom provided plenty of strong backing vocals. The big concern of the night was whether or not the 70-year-old frontman’s singing would be up to snuff, but for the most part it was. There were definitely moments that it lagged—McCartney shook his head, displeased, when his harmonies on “Paperback Writer” swerved out of tune—but he was still hangin’ in there near the finale when the raging “Helter Skelter” called for everything he had.

By the time the show ended, aptly, with Abbey Road ’s “The End”, there wasn’t a lot any true-blue Beatles fan could complain about.

Roger Waters, May 26, 2012

photo by the newt

When Roger Waters brought Pink Floyd’s The Wall to Rogers Arena in December 2010, he delivered nothing short of a prog-rock spectacle for the ages . His mastery of live sound, lighting technique, state-of-the-art video, and immense staging combined to bring that monumental 1979 concept album’s themes of isolation and oppression to life in a show that was truly unforgettable.

It didn’t seem like there was any way in hell that Waters could have made his performance of The Wall any better than it already was, so when he came back to town last night (May 26) he just made it bigger instead.

A lot bigger.

For the large stadiums, like B.C. Place, that are part of Waters’s latest North American tour, the centrepiece of the show—an enormous wall of white “bricks” that is built up during the performance and then torn down at the end—was drastically enlarged. Up to 500 feet wide, the wall constructed for the big stadium shows is double the width of that used for arena gigs, and—according to the bumf provided by promoter Live Nation—is “the largest projection surface ever toured in live entertainment”.

Size does matter. Especially when it comes to the music of Pink Floyd.

Apart from the much bigger wall—and the additional 22 video projectors required to fill it with the biting sociopolitical imagery Waters is known for—not much else seemed different from the 2010 show. The highlights were the same, including the part during “Another Brick in the Wall Part 2” when a group of kids wearing T-shirts emblazoned with the message “FEAR BUILDS WALLS” railed against a giant puppet teacher wielding a pointer.

And the video shown during “Bring the Boys Back Home” of children breaking down when their returning soldier dads surprise them in their classrooms is still as heart-wrenching as ever.

Then there was the plane that soared over the heads of the floor crowd, crashed into some bricks at stage left, and “exploded” during the opening song, “In the Flesh?”. That little spectacle never fails to get your attention.

But with all the emphasis on effects and staging, one thing that can get overlooked when Waters builds The Wall is the stellar band that helps him do it. And it doesn’t help that the musicians spend so much time hidden behind the wall itself, of course.

But Waters would be the first to acknowledge the contributions of the 12 singers and instrumentalists who accompany him. For the record, they include backup vocalists Jon Joyce and Mark, Michael, and Kipp Lennon (all cousins); second lead singer Robbie Wyckoff (who handles all the parts David Gilmour used to sing); keyboardists Jon Carin and Waters’s son Harry Waters; drummer Graham Broad; and guitarists Dave Kilminster, G.E. Smith, and Snowy White (he was in Thin Lizzy ! Yeah!).

Actually, even though he’d be the first to acknowledge their contributions, Waters wound up doing it last, when the tuckered-looking players were brought out in casual duds to perform the closing number, “Outside the Wall”. Then they all just stood there, soaking up the wild cheers of the crowd, until Waters decided the adulation was sufficient.

It seemed like a long time, but hey—they’d earned it.

The Rolling Stones, December 17, 1994

kevin statham photo

There was one nagging question on my mind after the Rolling Stones ’ show last Saturday (December 17) at B.C. Place, and it kept elbowing for space in there with about a thousand Chuck Berry guitar riffs.

I couldn’t stop wondering just how in hell the Spin Doctors, of all bands, managed to scoop the opening spot on the extremely high-profile Voodoo Lounge tour. Could it be that when the Stones deserted Sony for Virgin Records, a contractual obligation meant they had to help a worn-out Sony act revive its plummeting career?

At any rate, the Spin Doctors’ 40-minute “warm-up” set was a tiresome exercise in lame pseudofunk that no Stones freak (or rock fan in general) should have had to sit through. It did help make the headliners sound even more impressive, though, which could have been the idea all along.

As if to drive home the fact that it has been around for more than three decades, the world’s greatest rock ’n’ roll band (next to the Who ) kicked things off with a tune from 1964, the Bo Diddley–inspired “Not Fade Away”.

Mick Jagger looked sharp in a two-tone, grey Sgt. Pepper –style coat, but Keith Richards had him beat in the footwear department, sporting bright-yellow runners. The flashy leather shoes seemed to incite Richards to shimmy and shake to the next half-dozen tunes, which were mostly fast-paced rockers from the past (“Shattered”) and present (“You Got Me Rocking”).

One new boogie tune, “Sparks Will Fly”, was accompanied on a giant screen by bizarre computer graphics of a spiky, flailing tongue, not to mention some of the rudest Jagger lyrics ever. I know it’s only rock ’n’ roll, but there’s still something mildly disconcerting about a 51-year-old bellowing “I wanna fuck your sweet ass!”

Although he may be in dire need of a good soapy mouthwash, Jagger is certainly looking healthy these days. By the time the band had ripped into “(I Can’t Get No) Satisfaction”, he had peeled off the grey coat, a purple vest, and a blue silk shirt, and was down to a tight black tee.

When he scampered along the stage-left ramp above where we were located on the floor, it was clear the sinewy rock god has been taking care of himself. Richards, on the other hand… Well, he had Jagger beat in the footwear department.

“Any requests?” asked Mick after tinkling the keyboards on “Far Away Eyes”, one of the set’s rare mellow tunes. A partially zonked-out guy behind me screamed “Brand New Car!”, but Jagger must not have heard him, because he sang “Heartbreaker” instead—which was all right by me.

“We’re gonna do a really ancient one for ya,” he announced before returning to ’64 for another cover, Bobby Womack’s “It’s All Over Now”, which the band played while televised live in black-and-white for that archival feel.

It wasn’t quite the same seeing the Stones minus Bill Wyman’s standoffish demeanour, but new bassist Darryl Jones handled himself admirably, knowing better than to get too involved in the onstage antics of Jagger, Richards, and Ron Wood.

The Stones got plenty of strong backup from vocalists Lisa Fischer and Bernard Fowler, and a killer brass section also earned its keep. Longtime Stones saxophonist Bobby Keyes was a particular crowd-pleaser, putting his jugular vein to the test during a frantic solo on “Miss You”.

The high point of the show came when Richards banged out the opening chords to “Honky Tonk Women”, the slinky classic that most typifies what the Stones are all about. During that number, film clips of such femmes fatales as Greta Garbo, Brigitte Bardot, Marilyn Monroe, Betty Boop, and Queen Elizabeth II (!) were flashed on the huge screen—along with live shots of various local honky-tonkers shuffling in the crowd.

The most elaborate visual effect was saved for “Sympathy for the Devil”, when an array of giant inflatables—including a guitar-strumming Elvis, a nun, a goat’s head, and a punk baby—came to distended life across the top of the stage.

While the Stones cranked out “Street Fighting Man”, various stagehands tugged on the backs of the balloons to get them bobbing along, then in a matter of seconds all were deflated, yanked away, and tucked out of sight.

Tidy folk, those British.

Two hours after it started, the Stones’ set rumbled to a close, but the crowd of 50,000 brought the band back for an encore of (what else?) “Jumpin’ Jack Flash”. Somebody in wardrobe must have had a Phyllis Diller flashback, though, because Mick returned wearing a knee-length black skirt over his pants and Keith had on a pink plush jacket.

Are those guys wacky or what?

Pink Floyd, June 25, 1994

As streams of perked-up Pink Floyd fans strolled north across the Cambie Street bridge en route to the big white marshmallow of B.C. Place last Saturday (June 25), a lot of them were eyeing the sky. It was a fine time to revel in the postcard beauty of orangy pre-dusk clouds floating in a blue-grey sea, but this night there seemed to be a special reason for scanning the heavens.

I, for one, was hoping to spot one of those flying pigs that Floyd is famous for, or maybe the world’s largest blimp—the 61-metre-long Pink Floyd airship—which has been cruising around North America since the announcement of the British prog-rock titans’ first tour in six years.

But the only unnatural item gracing the airspace around the dome was a wimpy Province balloon in the shape of a blimp that was tethered in an adjoining parking lot.

Fortunately, that was the only bogus, unspectacular thing I would see during the next four hours; everything that followed would slip easily into the mind-boggling, unforgettable, and hard-to-believe categories. (Mind-boggling because of the astounding laser-and-light show, unforgettable because of the CD-quality sound production and David Gilmour ‘s sparkling guitar work, and hard-to-believe because Ryan O’Neal was beside me in a media suite shouting things like “‘Magic Bus’, motherf***ers!” and “‘Satisfaction’, you idiots!”)

Although the concert was slated to begin at 9:30 pm, it didn’t actually start until 10, when the hordes of stragglers outside the gates had finally been filtered through the turnstiles. In that intervening half hour, all it took to get the packed house howling was for someone to push the button marked “Sounds of a Whirring Fan” for a few seconds. The crowd was obviously stoked and ready, and Britain’s kings of prog-rock didn’t keep them waiting for what they had come to see.

Near the start of the set, during the soaring “Learning to Fly”, the group kicked in its legendary laser show. Green and yellow blasts of pure brilliance tore across the expanse of the stadium, and the beams looked solid enough to walk on. They came to a searing point just above the folks in the nosebleed seats, who were lucky that there were no miscalculations made by Pink Floyd’s Technical Director of Where the Lasers Gotta Go.

Catch one of those suckers in the head and you’ll definitely see the light.

The centrepiece of Floyd’s stockpile of visual weaponry was a 40-foot circular movie screen onto which typically bizarre Floydian film clips and mind-blowing computer-animation bits were flashed with amazing clarity. Watching that strange cinematic world unfurl, you could easily get wrapped up in the dreamlike images of humans thrashing about in water, balloons, and balls floating across barren landscapes, and guys in suit coats and top hats on stilts—but trying to make sense of it all could drive you nuts. Better just to surrender to Gilmour’s magical palette of sounds and let his state-of-the-art guitars, complex amplification, and high-tech effects loops outline the story for you.

Although spectacle certainly plays a major part in any Pink Floyd show, it doesn’t—at least on this Division Bell tour—overshadow the musical presentation. And although its members may have resembled insignificant insects in relation to their vast surroundings, the band—composed of Gilmour, second guitarist Tim Renwick, bassist Guy Pratt, keyboardists Richard Wright and Jon Carin, drummers Nick Mason and Gary Wallis, saxophonist Dick Parry, and backup vocalists Durga McBroom, Sam Brown, and Claudia Fontaine—was monstrous in its own right.

With the exception of a speedy, jazzed-up version of “Money”, they performed the old classics exactly as they were recorded, and if you closed your eyes you could imagine being at home with your own copy of Dark Side of the Moon . The group’s quadrophonic sound system gave the football stadium the sonic ambiance of a living room, and the only chink I detected in the mighty Floyd’s aural armour came during “ Wish You Were Here “, when a short squeal of feedback caused Gilmour to scratch his grey-haired head.

As expected, the three-hour show focused on the enormously popular Dark Side of the Moon and The Wall recordings, as well as the new Division Bell . Instrumentally, the most exhilirating moment for me came during Gilmour’s incendiary lap-steel blast on “One of These Days”; vocally, it had to be the gut-wrenching solos by McBroom, Brown, and Fontaine on “The Great Gig in the Sky”; lyrically, I’d have to go with “Wish You Were Here”.

Thanks, Rog , wherever you are.

Other highlights of the night? Well, there was the biggest damn mirror ball a man’s ever seen, which turned the dome into a crystalline love palace during “Comfortably Numb”. And I finally got to see my flying—well, falling, anyway—pigs. Oh, yeah…and Farrah Fawcett borrowed my binoculars a couple of times. Ooo-wee. I’m never gonna wash ’em. Ever .

Guns N’ Roses, March 30, 1993

from the newt’s collection

The first time I saw Guns N’ Roses perform, the band was opening for Iron Maiden at the Pacific Coliseum, shortly after the release of 1987’s Appetite for Destruction debut. This was several months before tunes like “Welcome to the Jungle” and “Sweet Child o’ Mine” would become radio and video staples, and well before singer Axl Rose would claim his notorious reputation as a riot-inducing, show-canceling bad-ass.

But even at that stage I remember a ticked-off Rose threatening the nonchalant Coliseum crowd with a walk-off if it didn’t “make some fucking noise!”

With all the highly publicized problems that have dogged the band’s touring schedule in the last couple of years, it came as somewhat of a surprise that Tuesday’s (March 30) show at B.C. Place went off without a hitch. As far as I could tell, there was no riot. Rose didn’t assault anyone, and Slash didn’t fall off the stage trying to look through his hair.

All in all, it was just a very consistent and impressive performance by an explosive hard-rock band at the peak of its career.

“Do you people feel like screamin’ a little?” hollered Rose, after the opening tune, “Nightrain”, had dug its savage hooks into the 20,000-plus crowd. Sporting a pair of black bicycle shorts and the ever-popular Charles Manson tank top, the tattooed millionaire was a whirling dervish of rock energy, leaping about the stage and spinning around whenever he damn well felt like it.

But the real star of the show was guitarist Slash, whose skills never faltered, whether he was tearing out raunchy lead riffs, laying down bluesy lap-steel slide, toying with a talk-box, or tackling Spanish guitar.

Slash’s talent kept the show rolling on a high note—while Rose may be the visual focus of the band, Slash is undoubtedly its musical heart. Without him Guns N’ Roses would be nothing special, sorta like Van Halen without Eddie.

Thanks mostly to a poor sound mix, opening act the Brian May Band didn’t fare nearly as well as expected, but by tossing in the occasional tune by his old band Queen , guitarist May still managed to win over the masses by set’s end.

The Rolling Stones, November 1, 1989

In what was surely the biggest Vancouver concert event of the ’80s, the Rolling Stones hit Vancouver for two nights last week amid a flurry of hype and much groveling for tickets. Now that Jagger and the boys have gathered up their money-bags (they play the Cotton Bowl in Dallas this weekend), one can take the time to analyze their local shows and come to a decision.

Was it all bloody worth it?

Let’s weigh the pros and cons. First off, on the downside, there’s the venue itself. If any group can make the dome sound decent, it should be the world’s greatest rock and roll band, but the sound was still weak–it’s been much better for bands like U2 and Supertramp . And though lacklustre sound might be forgiven in a venue built for football, what’s not so easy to ignore was the incredible deadness of the crowd.

After hearing all about the riot that occurred the last time the Stones played here, I was expecting the crowd to be bristling with wild enthusiasm and on its feet from beginning to end. But on Wednesday it was just a one-way street. The Stones rolled down it and the crowd of 53,000 politely watched from the sidewalk.

Now for the good stuff, the thumbs-up material. When it comes to songs, you can’t beat the Stones’ repertoire, and their choice of 25 tunes left little to complain about (although my older sister did beef about the exclusion of “Angie”). From their best-known tunes like “Brown Sugar” and “Satisfaction” (which finally got the crowd mildly riled up), to more obscure numbers like “2,000 Light Years from Home” and new ones from the band’s 29th album, Steel Wheels , the Stones’ set-list was a winner. It showed the band’s great emotional and musical range, from the opening stomp of “Start Me Up” to the show’s biggest lyrical highlight, “You Can’t Always Get What You Want”.

Next to the super songs, the stage itself was a big–and I mean BIG–part of the Stones’ show. With some 800,000 pounds of black and orange scaffolding, two huge silver smoke-chutes, and silver netting draped over mountains of amps, the stage resembled the interior of a high-tech steel mill.

The 250-foot wide, 130-foot high structure was augmented by a colossal lighting set-up that included 80 spinning Varilites (computerized spotlights), 100 animated color changers, and 22 man-operated followspots. According to the Stones’ fact sheet, a half-million watts of power are consumed by the system each show.

Also quite amazing were the show’s two main effects–a pair of 55-foot, inflatable tarts that came out of nowhere to bob up and down at either side of the stage on “Honky Tonk Women”. A massive fan filled the giant dolls with air in roughly half a minute; it took about twice that time to deflate them.

But perhaps the most impressive part of the Stones’ show was the performance of the band itself–and in particular that of Jagger. All the fancy effects and classy tunes in the world could have been for naught if those songs weren’t performed with the verve and style that the Stones are famous for. Jagger strutted and pranced through every song, displaying a rippling stomach that men half his age would envy.

Guitarists Keith Richards and Ron Wood were happy to hang out in front of Charlie Watts’ vintage drum-kit, smoking ciggies and stumbling around while casually chopping away at their axes. Bassist Bill Wyman, the oldest Stone at 53, kept to himself at stage left, expressionless and still.

All in all, just being able to see this craggy-faced crew of legendary rockers do their thing was an enormous experience. And, on reflection, things like muddy sound and a dull crowd weren’t enough to spoil that satisfaction. The sheer fascination so many people have for the Stones was mirrored in the starry orbs of Vancouver’s own Colin James, who just before the show had been backstage rocking out with Richards and Wood. “I’m buying,” he announced, all bright-eyed as he swaggered up to the media bar. “I’ve just been jamming with Ron and Keith!”

And while I was happy for the upcoming young blues-rocker, the only sad part was, I’d just finished buying my own beer.

AC/DC, June 13, 1988

The would-be gatecrashers throwing rocks and bottles outside B.C. Place last Monday night (June 13) may have thought they were having fun, but if they’d had any sense at all they would have saved those bottles, cashed them in, and collected enough money for a ticket to get inside.

That’s where the real fun was happening–the kind of deafening good time that only rock’s premier boogie-metal band, AC/DC , can deliver.

No, lead guitarist Angus Young was not wearing long pants. And no, he didn’t have a crewcut. He hasn’t been working out at the gym either. The heart and soul of the band was the same scrawny, long-haired demon in schoolboy shorts that his fans idolize and pay $20 for life-size posters of. They wouldn’t have it any other way.

Young opened the show by leaping from a missile-shaped device for “Heatseeker”, one of only two tunes the band played from its latest album, Blow Up Your Video . It was their old hits that the Aussie fivesome relied upon to get the crowd all riled up, and rile them they did.

During the second tune, “Shoot to Thrill”, dozens of fans charged the floor from the bleachers, hoping to get closer to their heroes. Most of them made it past the skimpy security, but the poor unlucky ones who got caught were treated to a headlock or two and dragged kicking and screaming away.

Before long the entire floor was covered with a seething mass of fist-thrusting bodies, and the security guys gave up their posts and took to keeping fans away from the sound- and light-system enclosure on the floor. One thing you don’t want to do is deprive 20,000-plus AC/DC fans of the electricity they’re thriving on by having the power supply disrupted.

Then you’d really be talkin’ trouble.

With steel-throated screamer Brian Johnson roaming the stage like a brawny thug in sleeveless denim jacket and cloth cap, the band belted its way through songs of sex (“You Shook Me All Night Long”, “The Jack”), rock ‘n’ roll (“Let There Be Rock”, “That’s the Way I Wanna Rock and Roll”), and the place you might end up if you have too much of both (“Highway to Hell”, “Hell’s Bells”).

Angus did his obligatory mooning of the crowd on “Jailbreak”–a quick down-and-up of the shorts that you’d have missed if you blinked–before playing a solo on his back while his kicking little legs spun him around in a circle.

For their last song–the 16th in an almost two-hour show–the band brought out two long-barrelled cannons for a 21-gun salute on “For Those About to Rock”. Talk about going out with a bang.

Pink Floyd, December 10, 1987

Seeing Pink Floyd live is a luxury that every rock fan should allow him or herself at least once. Yours truly took advantage of the opportunity to do just that last Thursday (December 10), along with about 44,000 other lucky dogs at B.C. Place.

It was my first Floydian experience, and one that won’t be soon forgotten, Roger Waters or no Roger Waters.

As you probably already know, Waters is no longer a part of Pink Floyd. Many people seem to think that the former bassist/lyricist/co-lead vocalist was the heart and soul of the band, and that the group is lost without him.

I don’t know. I’ve always been more a fan of guitarist/co-lead vocalist David Gilmour myself. At any rate, Pink Floyd is his baby now, and it’s Gilmour’s distinctively laid-back vocal style and scintillating guitar that command attention these days.

He used both to good effect on the opening tune, “Shine On You Crazy Diamond”, and was backed up by a wicked band that included original Floyd keyboardist Richard Wright and drummer Nick Mason (who was himself backed up by another drummer).

Through the night saxophonist Scott Page shook things up with stirring, go-for-broke solos. And a trio of fabulous female back-up singers provided the necessary vocal oomph to drive home the band’s repertoire of new and old material.

“We’re gonna save the older stuff for later on,” announced Gilmour, after the band had played “Learning to Fly”, the first single from its latest album A Momentary Lapse of Reason . A huge circular screen at the rear of the stage projected landscapes and psychedelic images, and then the show’s first laser effects kicked in.

As the solid rays of green and red painted squiggly lines on the ceiling of the dome, Gilmour put his white Stratocaster into overdrive on such new tunes as “The Dogs of War” and “A New Machine”.

By the time the band took a break, about halfway through the show, it was like “Roger who? ”

As expected, most of the real treats had been reserved for the second set, like the enormous inflatable pig with glowing red eyes that came flying out on wires from stage left and dangled above the crowd at centre field. The familiar opening chimes of “Time”, from the band’s historic Dark Side of the Moon LP, got the crowd all riled up as did Nick Mason’s laser drumsticks.

Instead of segueing into the reprise of “Breathe”, as “Time” does on the album, it ran into the spacey synth and computer-effect intro of “On the Run”, and when that song’s crashing-airplane effect was about to happen, a hospital bed came zooming down on wires from the far end of the dome, colliding at stage right with a ball of flame, which made it appear that the bed had exploded.

While a lot of concert light shows become repetitious and predictable, Pink Floyd’s never did. Robot-type laser columns rose from the stage floor and shot off streams of lasers before disappearing again, while underneath Dave and the boys gave the crowd what they came for with faves like “Wish You Were Here”, “Welcome to the Machine”, “Us and Them”, and, of course, “Money”.

And what’s a Pink Floyd show without that old standby, the mirror ball? It showed up for “Comfortably Numb”, turning the stage into a Milky Way of twinkling effects. The band’s two-song encore ended with “Run Like Hell”, a song from The Wall , and a high-flying eruption of sparks on both sides of the stage.

It was an appropriate finale to one of the best sound and light extravaganzas I’ve ever witnessed. Now at least I won’t feel like a chump when my buddies start bragging about having seen Pink Floyd.

David Bowie, August 15, 1987

Fans of the Georgia Satellites who were expecting to see the hard-rocking Atlanta band open for David Bowie at the scheduled time of 7 pm last Saturday (August 15) were in for a rather nasty surprise. The Satellites’ gig was pushed ahead to 6:30 pm so patrons of the scheduled 5 1/2 hour concert would have time to catch public transportation before the midnight cut-off.

Despite the efforts of the promoters to let ticket holders know about the last-minute change through radio, TV, and the daily papers, Georgia Satellites fans who didn’t hear about the time change got shafted.

I was one of them.

On the positive side, the Duran Duran set was actually quite good–a lot better than I thought it would be. From the press box the sound in the dome still resembled a cheap ghetto blaster, but at least there wasn’t that irritating echo you usually get up there, thanks to careful speaker placement.

Duran Duran started off with the James Bond track “A View to a Kill”, and headed through such hits as “Union of the Snake”, “Hungry Like the Wolf” and “Wild Boys” (during which Simon Le Bon pulled off a rather nifty handstand). They also did a couple of tunes from the band’s splinter groups, Power Station (“Some Like It Hot”) and Arcadia (“Election Day”).

At about 10 o’clock the 35,000 fans finally got what they’d been waiting so long for, and as the lights went down Bowie’s spikey-haired rhythm guitarist Carlos Alomar came strolling out, knocking off Van Halen -type guitar licks, while a voice from the scaffolding high above kept yelling, “Shut up!”

That voice belonged to Bowie himself, who descended from the belly of a huge, translucent, glowing spider while reciting the poetic opening lines of the song “Glass Spider”. Dressed in an oversized red jumpsuit and matching suede boots, the 40-year-old pop star was joined by the rest of his band and five dancers.

In no time at all, a huge throng of fans had assembled at the front of the stage, leaving those who had paid upwards of $300 for front row seats to think about other ways they could have spent their money. From across the stadium, the performers looked like insects, but thanks to two massive video screens, most of the on-stage action was visible.

With Peter Frampton ‘s inspired guitar freak-outs leading the way, the Bowie band made its way through new material (“Time Will Crawl”, Iggy Pop’s “Bang Bang”) and older stuff (“Heroes,” “Rebel Rebel”) before the marathon night of rock and roll came to an end, just before midnight.

The Jacksons, November 16, 1984

The biggest show in the history of pop music came to Vancouver last week (November 16), in the form of the Jacksons’ Victory Tour.

It was a dazzling display of lights and lasers, mechanized staging and slick choreography, available to anyone who wanted to shell out $40–and in three nights 107,000 fans did just that.

As expected, Michael Jackson stole the show from his brothers, spinning, leaping, and ‘moonwalking’ to the tune of “Beat It” and “Billy Jean”–from his multiplatinum album Thriller –and other songs from his years in the Jackson Five.

Two of the show’s most magical moments were the opening segment–in which four computer-controlled “Kreetons” (camel-like monsters) prowled the stage in a medieval “Sword in the Stone” fantasy skit–and Michael’s vanishing trick, in which he was corralled into a silver box by two huge, black automated spiders and then lifted into the air and blown up–only to reappear on a platform stage left.

A seven-story, 44-metre stage–that takes 240 workers five days to erect–housed over 2500 lights and 240 custom-built speakers. But for those who went to hear as well as see the shows, the sound system was a disappointment. With ten musicians playing and the five Jacksons singing, the result was one shrill barrage of sound.

The Jackson’s six-month North American tour should prove the most lucrative in music history, with an estimated gross income in excess of $70 million. In Vancouver alone, ticket sales grossed about $4.5 million.

To read more than 300 of my other Vancouver concert reviews go here .

Stadium Tour - Rogers Arena

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Stadium Tour

Worth it! As a hockey fan (although not a Canuck one), it was fun to get a behind the scene look of the arena. From center ice to the box where the Queen watched her first NHL game, you will get to see it all! My tour had over 20 people, and so it took about 90 minutes instead of the 60 minutes I was initially told about.

canuck can win one day , and you can listen concert and outside is snowing, very good comuncate with skytrain

Rogers Arena is very well located downtown in Vancouver and provides a quality's evening's entertainment. Good on ice action and lots of Canucks fans in attendance craeting a fantastic atmosphere. Price wise fodd was much the same as any otehr North American NHL arena. Satff were courteous, helpful and polite

We took the stadium tour with Caitlyn last Friday. Whilst not a Canucks fan (sorry!), but a massive hockey fan, I found the tour amazing. It cost $20 for me and my Mum, and we were the only people on the 10.30am tour. Caitlyn was an amazing host, giving us the opportunity to take pictures and really see the ins and outs of the stadium. We got to go to the GM's box and sit where Trevor Linden will sit during games, walk where centre Ice is, and wander around the changing rooms! Unfortunately we couldn't say hello to the players that were in the building though :( The tour took just over an hour, and was really worth the $20. We even got 10% off at the gift shop, and a free playoff towel. Even if you are not a Canucks fan, and find yourself in Vancouver, the tour is really worth taking. Mum loved it too and she's not even a hockey fan! (PS- Caitlyn, the player I was trying to think of was Tyler Seguin!)

Fun, informative walk around Rogers Arena. You get to go to the highest place in the building to watch hockey, and then all the way down to ice level (ice was out so you can walk right in the middle). So much fun!

A belated gift for my mother did not dissapoint. Was a bit worried that my choice of seats was going to be too far away, to my surprise, I was wrong. In some ways I thought I was at an advatage in the end, center to the stage, though higher up, I could see the whole crowd moving to the music, singing along, and the spectacle of watching hundreds of cell phones light up like a thousand lighters of yesteryear. My gift ended up being worth far more than I realized. Thanks for a great stroll down memory lane.

The stadium

BC Place is a state-of-the-art venue like no other. A one-of-a-kind retractable roof - the largest in the world - reveals over 7,500 square metres of sky and has created a year-round facility for world class events in beautiful British Columbia. When you arrive you’ll discover 800 WiFi access points and over 1,250 digital screens making BC Place one of the most technologically advanced venues in the world. Our FIFA ‘2-Star RECOMMENDED’ playing surface converts to create the largest column-free indoor space in Western Canada. Suspended above the field is the world’s second-largest 4-sided centre hung HD video board, which is surrounded by 54,500 seats and more than 50 suites and hospitality lounges. The “Northern Lights Display” is what we call our incredible 36-foot façade, lit up by thousands of energy-efficient LED lights, creating colour animations that bring life to the Vancouver skyline.

Inside the Stadium

Suites and club seats

Retractable Roof

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tour history
discography
lep history
about / contact
Location / Vancouver, BC, Canada
Venue / BC Place

The first show by the band in this city since October 2018 on the co-headline tour with Journey.

The first time at this venue.

The venue was first opened in June 1983.

It is located at the North side of False Creek by the water and stands next to the newer Rogers Arena.

A show on 'The Stadium Tour' with Mötley Crüe and Poison.

Motley Crue closed this show.

This show was one of five added to the schedule in February 2022.

Another 17 song and unchanged setlist with the venue's retractable roof open for the show.

Read the full SHOW REPORT
SUBMIT - Reviews / Photos
Fan Reviews - 0
Media Links - News / Photos - 14
Photo Galleries - 03
Online Reviews - 0
Heroes (David Bowie Cover) - (PA)
Diamond Star Halos Album Video
01 - Take What You Want
02 - Let It Go
03 - Animal
04 - Foolin'
05 - Armageddon It
07 - Love Bites
08 - Promises
09 - This Guitar - (Semi-Acoustic)
10 - Two Steps Behind (Full Version/Full Band/Joe solo at end only) - (Acoustic)
11 - Rocket (Single Version)
12 - Bringin' On The Heartbreak
13 - Switch 625 (instrumental)
14 - Hysteria (Extended Outro)
15 - Pour Some Sugar On Me
16 - Rock of Ages
17 - Photograph
View - All Songs Played 2022 / PA Music Info

songs by album

Diamond Star Halos - 03
Euphoria - 01
Retro-Active - 01
Hysteria - 06
Pyromania - 03
High 'n' Dry - 03
Tour - Def Leppard The Stadium Tour 2022
Fan Recorded - none yet
Venue - Website
Venue Address - 777 Pacific Boulevard, Vancouver, BC V6B 4Y8
Canadian Province - British Columbia
Area Map - Google
Last Show Here - 1st October 2018
Capacity - 54,500
End-Stage Show Capacity - 34,213
Attendance - 34,213
Total Gross Sales - $3,574,727
Promoter - Live Nation
Show Start Time - 4:30pm
Co-Headliner - Mötley Crüe - (Closing)
Co-Headliner - Def Leppard
Support Act - Poison
Support Act - Joan Jett & The Blackhearts
Support Act - Classless Act

band members

01 - Joe Elliott - Lead Vocals
02 - Phil Collen - Guitars
03 - Vivian Campbell - Guitars
04 - Rick Savage - Bass
05 - Rick Allen - Drums

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Def Leppard Tour History - Fan Archive. Since 2001.

Live Review: Ed Sheeran + Khalid + Maisie Peters @ BC Place Stadium, Vancouver – September 2nd 2023

Last night, BC Place Stadium was the place to be. The venue played host to 65,061 concertgoers, the highest attendance in its multi-decade history. Everyone had gathered to experience the international superstar, Ed Sheeran.

The audience’s anticipation was electric as the stage setup, cleverly positioned in the center of the stadium, offered a 360-degree view. With opening artists Maisie Peters and Khalid setting the stage ablaze, Ed Sheeran would go on to deliver a performance to remember, solidifying his status as one of the world’s biggest-selling artists on the planet.

Maisie Peters, hailing from Brighton, England, opened the night with an infectiously upbeat set. Her voice, sounding just as incredible live as in her recordings, filled the stadium with a vibrant energy. The crowd’s response was resounding, a testament to her burgeoning popularity. Notably, she mentioned her recent signing to Ed Sheeran’s record label, setting the stage for the night’s headliner. Maisie closed her set with “Lost The Breakup,” a fan favorite that had most of the stadium singing along.

Following Maisie Peters, Khalid, an American singer-songwriter from El Paso, Texas, took the stage with an energetic setlist that perfectly matched the vibe set by the opener. Khalid and his band maintained infectious smiles throughout their performance, creating an atmosphere of sheer enjoyment. The audience responded with enthusiasm, singing along to hits like “Young Dumb & Broke.” Khalid’s distinctive black and white coveralls and matching Nike high-tops made him easily identifiable on the expansive stage. His set concluded with the crowd-pleaser “Better,” leaving the audience amped up for the main event.

As the clock neared Ed Sheeran’s arrival, the anticipation in the stadium was palpable. The enormous circular video screen that encompassed the stage was lifted, standing solo in the center of the stage, the talented English singer-songwriter kicked off his set. The audience erupted in cheers, and from that moment, there was no turning back.

By the third song, Sheeran introduced a captivating stage element—the circular stage began to rotate, allowing him to share his charismatic presence with every corner of the stadium. His energy was boundless, seamlessly carrying over the infectious enthusiasm generated by his opening acts.

Ed Sheeran alternated between solo performances and segments with his full band, creating dynamic shifts in the show’s atmosphere. One standout moment was when he brought Khalid on stage to perform “Beautiful People” together, further elevating the evening’s excitement.

Throughout the performance, Sheeran’s dedication was unmistakable. His genuine interactions with the audience, coupled with his emotional delivery, ensured that every song felt like an intimate moment shared with thousands. It was evident that he poured his heart and soul into each note, a fact that resonated deeply with the crowd.

In a thoughtful gesture, Sheeran donned a shirt with “Vancouver” emblazoned on the back, endearing himself even further to the audience. The concert felt like a personal, one-of-a-kind experience, a testament to Sheeran’s ability to connect with his fans.

The stage show itself was nothing short of spectacular. Fireworks lit up the sky, and vertical flame cannons punctuated the performance with bursts of heat and light. At one point, an inflatable ambulance and the iconic Bunny character added whimsy to the stage, complementing Sheeran’s animated and engaging presence.

The setlist was a masterful blend of Ed Sheeran’s greatest hits and newer releases, appealing to both longtime fans and those discovering his music for the first time. From the full-band anthems of “BLOW” to the solo, acoustic moments of “Photograph” and “Perfect,” the range of emotions and experiences was vast. Sheeran’s encore, featuring “You Need Me, I Don’t Need You,” “Shape of You,” and “Bad Habits,” provided a triumphant conclusion to an unforgettable night.

Ed Sheeran’s performance was a triumphant celebration of music, unity, and boundless energy. He reaffirmed his place as a global music phenomenon, showcasing why he is one of the world’s biggest-selling artists. As the lights dimmed and the crowd’s cheers continued to reverberate, it was clear that this record-breaking night in Vancouver would be cherished by fans for years to come.

Ed Sheeran’s setlist

– With Full Band – Tides BLOW – Ed Sheeran on his own – I’m a Mess Shivers The A Team Castle on the Hill Don’t Eyes Closed Give Me Love Boat (with his Musical Director) – With Full Band – River / Peru / South of the Border / I Don’t Care Beautiful People (with Khalid) End of Youth Overpass Graffiti Galway Girl (with Alicia Enstrom) Thinking Out Loud

– Ed Sheeran on his own – Love Yourself (Justin Bieber cover) Sing Photograph Perfect Bloodstream Full Band Afterglow

– Encore – You Need Me, I Don’t Need You Shape of You Bad Habits

Photos © Jamie Taylor

Concert review: Motley Crue, Def Leppard, Poison and Joan Jett rock PNC Park

Four bands transported PNC Park back to the Three Rivers Stadium era when The Stadium Tour finally came to Pittsburgh on Friday.

Joan Jett and the Blackhearts, Poison, Def Leppard and Motley Crue combined for a raucous six-and-a-half-hour concert that delighted fans both young and old.

Multiple bands remarked on how relieved they were to be back on the road after the pandemic caused cancellations. Bret Michaels said, “Two and a half years I’ve been waiting for this exact party!” Def Leppard’s Joe Elliott succinctly expressed the relief of both the audience and the bands: “We finally made it.”

PNC Park saw a perfect sunny day for a 1980s party and a packed stadium full of fans thrilled to throw one. Despite its slate of anti-establishment hard rockers, the show ran impressively on time. It was technically faultless, from the varied, colorful light displays to the crystal-clear sound, every act shone in an amazing spectacle.

Mötley Crüe and Def Leppard perform at PNC Park tonight @TribLIVE #defleppard #MotleyCrue pic.twitter.com/bTIuktHNUN — Shane Dunlap (@shanedunlap) August 13, 2022

The lineup started strong with Joan Jett and the Blackhearts playing to a crowd that was revved up even at the 4:30 p.m. start time. Jett – as rebellious and striking as ever in all black – didn’t miss a beat with a set of crowd-pleasing hits from “Cherry Bomb” to “I Love Rock ‘n’ Roll.”

The band threw in some stripped-down songs, like “I’m Gonna Run Away,” as nods to their recently released acoustic album “Changeup.” On their more bombastic tunes, like “Do You Wanna Touch Me?” the whole band brought an energy that had the assembling crowd on its feet.

While Jett didn’t shout out the lyrics the way she used to, her sultry voice on songs like “Crimson and Clover,” and the band’s growling guitars and pounding drums to match left no doubt that the 2015 Rock ‘n’ Roll Hall of Fame inductees can still rock.

The Blackhearts wrapped up their hour-long set with back-to-back crowd favorites in “I Hate Myself For Loving You” and “Bad Reputation.”

Considering lead singer Bret Michaels’ Western Pennsylvania roots, it may have been wise to make Poison the show’s headliner in Pittsburgh. Instead, they came on second to a thunderous hometown welcome. Michaels never hid his own excitement, shouting “It’s Bret Michaels and it’s good to be home!” as the band took the stage.

Michaels was full of love to share, lavishing praise on Pittsburgh, where he spent plenty of time while he was growing up in Butler. “I can’t stop smiling, my brothers and sisters are here bringing it. I’ve been telling them on this tour, the ‘Burgh is going to kick your ass!”

Poison rocked their way through high-energy radio classics like “Ride the Wind,” “Talk Dirty To Me” and “Nothing But A Good Time.” Still, they left room in the middle of their set for “Every Rose Has Its Thorn,” a power ballad that had what felt like the entire stadium singing along.

Guitarist C.C. DeVille had the crowd in the palm of his hand during a minutes-long electric guitar solo and Rikki Rockett, the Mechanicsburg-born drummer, rocked out with his own spotlight performance.

Both Joan Jett and the Blackhearts and Poison played hour-long sets, but Def Leppard and Motley Crue performed for 90 minutes and used every second to great effect.

It was hard to imagine more of a hard-rock high than Poison, but Def Leppard was revealed onstage under a rising curtain bearing their logo and brought fans to their feet with a mix of classic hits and new material that fits right in with the oldies. Lead vocalist Joe Elliott still sings like he did in 1983, even if he’s rocking silver hair these days.

The band showcased songs from their new album “Diamond Star Halos.” As Elliott announced proudly onstage, “From our homes all over the place, we managed to 100 percent remotely make an album – and we pulled it off.” The first single, “Kick,” fit right in with songs from the band’s heyday like “Animal” and “Hysteria.”

Elliott promised the audience a range of their music from the very old to the very new, and they delivered. The set wandered from tracks off of the band’s second album, released in 1981, to the present. Nothing quite revved up the crowd, however, like “Pour Some Sugar On Me.”

Def Leppard closed with “Photograph,” and the screens on either side of the stage showed snapshots of the band collaged together with their live performance. Before they left the stage, Elliott made one request of the fans. “Do us a favor, Pittsburgh. Don’t forget us and we won’t forget you.”

As the sun finished setting, the crowd buzzed with anticipation for the night’s final act, Motley Crue. Just after 9:30 p.m., the band made an epic entrance after a video intro that depicted a fake apocalyptic news broadcast and amid an electronic red-and-black banner declaring “The future is ours.”

All of the buzz made sense once Motley Crue started to play. Everything about their performance was a musical wave that swept up even the most apathetic concertgoers. From the frenetic, colorful lights to the band’s undeniable hard rock sound, the show was an adrenaline rush. Lead singer Vince Neil’s iconic voice rang out over chugging, screaming guitars, all held up by the heart-pounding beats of infamous drummer Tommy Lee.

Much like Def Leppard before them, Motley Crue mixed the classics with the new, even throwing in a rendition of “The Dirt,” the song written for the 2019 film of the same name about the band. Still, they seemed to have the most fun doing a series of covers. Nikki Sixx, Motley Crue’s bassist, introduced the medley by referring to them as “our favorite Motley Crue songs that are other people’s songs. Motley Crue karaoke!” The medley included “Rock ‘n’ Roll Part 2,” “Helter Skelter” and “Anarchy in the U.K.,” among other influential songs.

After a series of old-school hits like “Dr. Feelgood” and “Girls, Girls, Girls,” Motley Crue finished their set with “Kickstart My Heart,” a song that sent the thousands of attendees away with more than enough energy for the drive home.

Motley Crue setlist

Shout at the Devil
Too Fast for Love
Don’t Go Away Mad (Just Go Away)
Saints of Los Angeles
Looks That Kill
The Dirt (Est. 1981)
Rock and Roll, Part 2 / Smokin’ in the Boys Room / White Punks on Dope / Helter Skelter / Anarchy in the U.K.
Home Sweet Home
T.N.T. (Terror ‘N Tinseltown)
Dr. Feelgood
Same Ol’ Situation (S.O.S.)
Girls, Girls, Girls
Primal Scream
Kickstart My Heart

Def Leppard setlist

Take What You Want
Foolin’
Armageddon It
This Guitar (Acoustic)
Two Steps Behind (Acoustic)
Bringin’ on the Heartbreak
Pour Some Sugar on Me
Rock of Ages

Joan Jett setlist

Victim of Circumstance
Cherry Bomb
Oh Woe Is Me
Do You Wanna Touch Me (Oh Yeah)
You Drive Me Wild (The Runaways cover)
Fake Friends
Everyday People (Sly & the Family Stone cover)
Crimson & Clover
I Love Rock ‘n’ Roll
(I’m Gonna) Run Away
I Hate Myself for Loving You
Bad Reputation

Poison setlist

Look What the Cat Dragged In
Ride the Wind
Talk Dirty to Me
Your Mama Don’t Dance (Loggins & Messina cover)
Guitar Solo (with Eruption Van Halen snippet)
Fallen Angel
Every Rose Has Its Thorn
Nothin’ but a Good Time

Alexis Papalia is a TribLive staff writer. She can be reached at [email protected].

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Review – Motley Crue and Def Leppard Brought the ’80s Back to Denver

Hair metal — a more commonly used phrase to describe glamorous rock of the ’80s — is a sonic archive of days past. Rarely does one find any shred of burgeoning new bands following this blueprint. Rap could be the reasonably-assumed heir to this form of rock ‘n’ roll, with its sold-out shows, chest-puffing, luxurious lifestyles and drug-fueled tours (all a result of money and lots of it). But the point is, you just don’t see Mötley Crües or Def Leppards or Poisons emerging in this day and age. You do, however, still see unsurprising support for the originals. This tour was postponed in 2020 and 2021, both pushbacks due to COVID, and has moved, on average, 96 percent of tickets per show. So when Mötley Crüe comes to Coors Field for (what surely must be) their last tour — a joint effort by the aforementioned bands — you go, right? If not for pure enjoyment, at least to witness hordes of loyalty toward the figureheads of a generation.

Joan Jett & The Blackhearts, as well as Poison, were welcoming openers. The latter, forever led by a polarizing Brett Michaels, whose smooth demeanor has been everywhere from the Celebrity Apprentice to The Masked Singer , VH1’s Rock of Love with Brett Michaels and (of course) on music charts and in stadiums across the world. In their day, Poison embodied the “glam” portion of “glam rock” in every sense of the word. Take a look at their debut studio album’s cover, 1986’s Look What the Cat Dragged In : they sported duck lips and full faces of makeup, blown-out hair and pastel-colored backgrounds. Like the K-Pop superstars of today, they understood who was listening to their music the most.

At Coors Field, Poison was lively during their punchy set. C.C. DeVille broke out all the stops on his auburn and red V-shaped beauty — a style of guitar body made famous by bands like these. Michaels caught air on more than one occasion, showing off his kicks and air punches in spry fashion. Fans reminisced through screams, hearing memories of their teenage years with the raunchy, addicting “ Talk Dirty to Me, ” or “ Every Rose Has Its Thorn, ” the crew’s biggest song from a chart perspective.

Next was Def Leppard, in all their British glory. The cats who held down hair nation across the pond came out with two intentions: one, of course, was to give their fans a long-overdue taste of the classics, three of which they stacked at the end of their performance — “ Pour Some Sugar on Me, ” “ Photograph ” and “ Rock of Ages, ” a record featuring an unforgettable introduction by super-producer Mutt Lange, the ‘Gunter glieben, glauchen globen’ spoken by a man who teamed with the band in ’83 to create an epoch of pop/rock crossover, Pyromania . The second intention, however, was sort of disappointing, but completely understandable.

Throughout the night, Joe Elliott and company pushed their 2022 album, Diamond Star Halos , like salesmen. Songs crept into a fluid setlist — which was alright — but took nostalgic fans out of the moment. The crowd still cheered, but a new piece of work from a band who checked every box on the list, oddly boasted as “100% remotely recorded during COVID,” didn’t seem necessary. Phil Collin and Rick Allen still wielded their instruments with mastery (which comes as no surprise), and Rick Savage moved around with as much pep as anyone throughout their show.

By this time, the sky had completely darkened. In all reality, it’s the only time of day Mötley Crüe should ever be performing. They are a band of the night — true savants of wielding the aesthetic, sound and lifestyle surrounding the appealing darkness of mainstream heavy metal of the ’80s. Their set kicked off with the “emergency broadcast” trope, as it cut through blips of news anchors reporting on their sightings. For a band that sports an edge as sharp as Mötley Crüe has for decades, an explosive first song is a must — and they delivered, kicking things off with “ Wildside. ” Nikki Sixx, Mick Mars, Vince Neil and superstar Tommy Lee, who joined the tour late due to a set of broken ribs, all had this marked on their calendar for years. This was their first stop in Denver since a pump fake “farewell tour” in 2014/2015. Suffice to say, the band had lots of time to plan, and their stage set-up reflected as much. Jagged metal clusters made trees and nests of steel, surrounding each band member. Tommy Lee’s drum set was surrounded by these extremities.

Vince Neil, the pitched-up singer and frontman of Mötley Crüe, donned a red and black leather jacket, marked by silver studs. “ Live Wire ” and “ Saints of Los Angeles ” were distinct moments in the performance — great records that act as bookends for their studio album run from 1981 to 2008. An iconic moment (as always) came when Tommy Lee plopped down onto a piano bench, and after 35 thousand lighters/phone lights turned on, he played Vince Neil in for the glam ballad of the ’80s — a brilliant moment in rock music — “ Home Sweet Home. ”

It was funny — at one point during Mötley Crüe’s performance, Nikki Sixx and Tommy Lee gave speeches to the crowd, one after the other, in that exact order. The combined content of Sixx and Lee’s speeches was a perfect, full-bodied summary of the anomaly that is Mötley Crüe.

First went Sixx, who made abundantly clear that they wouldn’t have led the amazing lives they did if not for the fans, as well as the bands they idolized. It was a wholesome moment to say the least, and understood, considering their awe-inspiring success, nearly 15 years after their last studio album.

Next came Lee, who posed a final question, “we’re in fuckin’ Denver, right? Then how come I haven’t seen any titties?”

All photography by Mark Tepsic

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Way more than popcorn, peanuts and Crackerjack

Fans who fill the seats at T-Mobile Park in Seattle know they’re going to be well fed when they come to the ballpark.

Beyond the traditional stadium fare — yes, of course, you can score a hot dog — there’s a restaurant-driven menu that’s endlessly interesting:

Spam musubi and tofu tots at the two Marination stands
An all-star lineup from Li’l Woody’s , including the popular Garlic Fries Burger
Deep-dish Dungeness crab pizza from Moto
Seriously fun scoops from Salt & Straw
Drool-worthy Birria Tortas at Edgar’s Cantina
Ivar’s clam chowder
New York-style slices from Ballard Pizza Company
And Kidd Valley ’s world-famous Garlic Fries

But the most exciting dish in the ballpark this season comes from the stadium rookie, Tamari Bar , where they’re bringing the heat like a Luis Castillo fast ball.

Tamari Bar chef Makato Kimoto has been arriving very early to the T-Mobile ballpark to prepare the ... [+] spicy fare served during the Seattle Mariners home games.

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This restaurant group was founded in Seattle in 2014 and has locations in Vancouver, B.C., and Toronto. Its mission is to “disseminate Japanese culture, Japanese food, and Japanese people.”

The Seattle Times called the izakaya “effervescent fun” in a 2018 review .

While it was a featured pop-up during last year’s season, this year, Tamari Bar has found its home in the spacious stand that was last Din Tai Fung. It’s on the main concourse near the Mariners Hall of Fame.

Though the lines may be long, they move quickly. The crew behind the counter does a stellar job of prepping the bowls of the Area 206 Ton-katsue curry before the crispy panko-breaded pork cutlet is placed on top before serving.

On a chilly day and especially on a cold night during the spring games, there’s nothing quite as satisfying as that warming curry. The spices come together in a rich, balanced sauce that’s not so hot it’s going to make you feel as if you’re auditioning for Hot Ones .

But just in case, it’s probably a good idea to order Tamari Bar’s outstanding house-made ginger ale. It’s a real winner and a fantastic complement to the curry.

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Published: 2024/04/25

The Rolling Stones Announce North American Tour Openers: Widespread Panic, Tyler Childers, Bettye LaVette and More

The Rolling Stones Announce North American Tour Openers: Widespread Panic, Tyler Childers, Bettye LaVette and More

In November, The Rolling Stones unveiled a fully-fledged North American tour schedule, which was coupled with the release of their latest sonic entry and first album of original music since 2005’s A Bigger Bang , the blues rock-focused Hackney Diamonds. Ahead of the group’s tour opener this Sunday, April 28, at NRG Stadium in Houston, the famed band has revealed artist support for their forthcoming run of shows, beginning with Gary Clark Jr., during night one in the Lone Star State.

While the band’s Jazz Fest appearance will not include support, they will bring Carin León and Electric Mud out for their follow-up on May 7 in Glendale, Ariz. During Rolling Stones’ Western-focused excursion, they will welcome The Pretty Reckless during their Las Vegas gig and continue in Seattle with Joe Bonamassa. While night one in Rutherford, N.J., remains without support (TBA), the group will bring Lawrence along on May 26.

In Foxboro, Mass., Mick Jagger and company will bring out The Red Clay Strings before a highly-anticipated Tyler Childers support date on June 3 in Orlando, Fla. In the Peach State, the band will welcome Ghost Hounds, also slated to join on June 15 in Cleveland and July 15 in Vancouver, B.C.

In Denver, The Rolling Stones welcome support from fellow veteran rock group Widespread Panic and soul troubadour Bettye LaVette during the headliner’s ensuing show in Chicago. Night two in the Windy City will see Lainey Wilson fill the role. Back on the West Coast, the group’s final offerings will occur throughout two nights in Los Angeles, with The Linda Lindas and War and Treaty, respectively, and a final concert on July 17 in Santa Clara, Calif., with The Beaches.

Tickets remain on sale and can be purchased here . Scroll down to view the band’s support schedule.

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THE ROLLING STONES 2024 TOUR DATES: Apr 28th NRG Stadium HOUSTON, TX with Gary Clark Jr. May 2nd NOLA Jazz Fest NEW ORLEANS, LA May 7th State Farm Stadium GLENDALE, AZ with Carin León / Electric Mud May 11th Allegiant Stadium LAS VEGAS, NV with The Pretty Reckless May 15th Lumen Field SEATTLE, WA with Joe Bonamassa May 23rd MetLife Stadium EAST RUTHERFORD, NJ with TBA May 26th MetLife Stadium EAST RUTHERFORD, NJ with Lawrence May 30th Gillette Stadium FOXBORO, MA with The Red Clay Strays Jun 3rd Camping World Stadium ORLANDO, FL with Tyler Childers Jun 7th Mercedes-Benz Stadium ATLANTA, GA with Ghost Hounds Jun 11th Lincoln Financial Field PHILADELPHIA, PA with KALEO Jun 15th Cleveland Browns Stadium CLEVELAND, OH with Ghost Hounds Jun 20th Empower Field at Mile High DENVER, CO with Widespread Panic Jun 27th Soldier Field CHICAGO, IL with Bettye LaVette Jun 30th Soldier Field CHICAGO, IL with Lainey Wilson Jul 5th BC Place VANCOUVER, BC with Ghost Hounds Jul 10th SoFi Stadium LOS ANGELES, CA with The War and Treaty Jul 13th SoFi Stadium LOS ANGELES, CA with The Linda Lindas Jul 17th Levi’s ® Stadium SANTA CLARA, CA with The Beaches

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Luke Bryan falls on Vancouver stage after slipping on cellphone

Country star Luke Bryan takes a tumble during Vancouver concert.

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At Saturday night’s Coast City Country show at B.C. Place, headliner Luke Bryan’s signature Lucchese boots turned into skates as the singer fell after stepping on a loose cellphone on stage during his set.

Luke Bryan falls on Vancouver stage after slipping on cellphone Back to video

The Knockin’ Boots singer went backside over coffee kettle. Fortunately, Bryan was back up and laughing about the fall a few moments later.

“Hold on, did anybody get that? It’s OK. Hey, my lawyer will be calling,” Bryan said, borrowing a fan’s phone from the crowd to replay the whole slip-and-fall moment back with the packed stadium. The singer then noted onstage that the slip would go viral.

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Sure enough, it did.

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The good-natured artist, who has a bit of a reputation for live show pratfalls, was up and laughing about the tumble noting “my lawyer will be calling.” Video footage of the fall sure looked like he landed hard after stepping on the phone, but cowboys get thrown off their horses all the time and get back in the saddle.

Bryan was the headlining act of the Saturday night Coast City Country event, following Dierks Bentley, Brett Young and other country stars. The second night of the festival followed a Friday show featuring headliners Nickelback. Read our review of the concert here.

But the country superstar isn’t the only musician to lose their balance onstage recently. It’s seems like not a week goes by that some star or another is taking a tumble during a gig.

Hip-hop head Kid Cudi didn’t fare as well as Bryan following a poorly executed stage dive during his Sunday set at the Sahara stage at Coachella. Cudi, who was a last-minute fill in at the music festival’s second weekend, broke his foot following the bad landing. Cutting his set short, he headed off to hospital letting fans know via a post on X that it was “all a bit crazy.”

Other recent celebrity drops included Madonna getting dumped off a chair being pulled by a dancer on stage at the Seattle show of her Celebration tour.

Perhaps the best-known stage drop in local concert history was in 2015 when U2 guitarist the Edge failed to navigate the walkway edge between the mainstage and B stage on opening night of the Irish band’s Innocence and Experience tour in Vancouver. The musician’s trip off the riser during I Still Haven’t Found What I’m Looking For recovered so fast a lot of fans missed it.

Posting on Instagram later with a photo of a cut he received on his right arm, the musician joked, “I didn’t see the edge, I’m OK!!”

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Vancouver Whitecaps to host Ryan Reynolds-owned Wrexham AFC

Welsh club co-owned by movie star set to play at b.c. place stadium on july 27.

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Wrexham AFC, the Welsh soccer club co-owned by Vancouver actor Ryan Reynolds, is set to play the Vancouver Whitecaps at B.C. Place Stadium on July 27.

The game against the Major League Soccer team will be the last of three North American matches this summer for Wrexham, which has shot to prominence since Reynolds and fellow Hollywood actor Rob McElhenney purchased the club in 2020.

"Last year Rob got to bring Wrexham to Philly. This year it's my turn," Reynolds, a longtime Whitecaps supporter, said in a statement. "I am so excited my hometown club the Whitecaps will get to square off against the Red Dragons.

"My official stance on the match will be a very friendly 'neutral' even if I will be screaming for a Paul Mullin hat-trick," he added, referring to the Wrexham forward.

Wrexham AFC, which was languishing in English soccer's fifth tier at the time of the purchase, has achieved two successive promotions under its famous ownership.

Next season, the team will compete in League One, two levels below the English Premier League (EPL).

Founded in 1864, Wrexham is the oldest professional soccer club in Wales and the third oldest in the world. The club has been featured in the immensely popular, Emmy award-winning docu-series Welcome to Wrexham on FX.

How Ryan Reynolds gave hope to a small-town Welsh soccer club

Before travelling to B.C. on its 2024 Wrex Coast Tour, the Welsh club will face EPL competition in California, against Bournemouth on July 20 in Santa Barbara, and Chelsea FC on July 24 in Santa Clara.

"This is an exciting opportunity for our club, as we celebrate our 50th anniversary season, to play a team as storied as Wrexham AFC," said Vancouver Whitecaps sporting director Axel Schuster.

"We're delighted to be able to welcome our visitors from Wales, and welcome Ryan Reynolds back home to Vancouver."

Rolling Stones Announce Openers for 2024 ‘Hackney Diamonds’ Tour

The Rolling Stones have announced the opening acts for their ’24 Hackney Diamonds tour , which kicks off in Houston on April 28.

The band will play more than 20 shows across the U.S. through July 17. Most dates will feature exclusive opening acts, though a few artists will perform at more than one concert on the tour.

The Stones have lined up a diverse lineup of openers for the upcoming tour, including blues guitarist Gary Clark Jr., veteran soul singer Bettye Lavette and punk band the Linda Lindas.

READ MORE: The Heaviest Song by 10 Big ’70s Rock Bands

Some artists have opened for the Stones before, such as Ghost Hounds and KALEO. But many are first-timers in the gig. You can see the band’s tour dates and each city’s scheduled opening act below.

Where Are the Rolling Stones Performing in 2024?

After the ’24 Hackney Diamonds tour starts on April 28, the band will perform throughout the U.S., stopping at 20 cities – including Seattle, Atlanta, Cleveland and Los Angeles – before wrapping up the dates on July 17 in Santa Clara, California.

The group released its first album of new material since 2005 in October. Upon its release, Hackney Diamonds was greeted with enthusiastic reviews.

You can find more information about the tour at the Stones’ website .

The Rolling Stones ’24 Hackney Diamonds Tour

April 28 – NRG Stadium – Houston, TX – Gary Clark Jr.

May 2 – Jazz Fest – New Orleans, LA

May 7 – State Farm Stadium – Glendale, AZ – Carin Leon; Electric Mud

May 11 – Allegiant Stadium – Las Vegas, NV – The Pretty Reckless

May 15 – Lumen Field – Seattle, WA – Joe Bonamassa

May 23 – MetLife Stadium – East Rutherford, NJ – To be announced

May 26 – MetLife Stadium – East Rutherford, NJ – Lawrence

May 30 – Gillette Stadium – Foxboro, MA – The Red Clay Strays

June 3 – Camping World Stadium – Orlando, FL – Tyler Childers

June 7 – Mercedes-Benz Stadium – Atlanta, GA – Ghost Hounds

June 11 – Lincoln Financial Field – Philadelphia, PA – KALEO

June 15 – Cleveland Browns Stadium – Cleveland, OH – Ghost Hounds

June 20 – Empower Field at Mile High – Denver, CO – Widespread Panic

June 27 – Soldier Field – Chicago, IL – Bettye LaVette

June 30 – Soldier Field – Chicago, IL – Lainey Wilson

July 5 – BC Place – Vancouver, BC – Ghost Hounds

July 10 – SoFi Stadium – Los Angeles, CA – The War and Treaty

July 13 – SoFi Stadium – Los Angeles, CA – The Linda Lindas

July 17 – Levi’s Stadium – Santa Clara, CA – The Beaches

Source: Rolling Stones Announce Openers for 2024 ‘Hackney Diamonds’ Tour

The Rolling Stones singer Mick Jagger makes

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The Rolling Stones announce support acts for 2024 ‘Hackney Diamonds’ US tour

The legendary band's tour is set to kick off Sunday (April 28)

Gary Clark Jr. The Pretty Reckless and The Linda Lindas. Credit: Rick Kern, Katja Ogrin and Steve Jennings via GETTY

The Rolling Stones have announced the support acts for their 2024 ‘ Hackney Diamonds ‘ US tour.

READ MORE: The Rolling Stones – ‘Hackney Diamonds’ review: they’ve still got it

The legendary band are set to embark on a massive US tour next week (April 28). The tour will see Mick Jagger , Keith Richards and Ronnie Wood perform in 16 cities across North America and Canada.

To kick off the first night of the tour, Gary Clark Jr. will serve as the opening act in Houston this Sunday (April 28). From there, Ghost Hounds will open for the Stones in Atlanta on June 7, Cleveland on June 15 and lastly Vancouver on July 5. KALEO will open the Philadelphia date on June 11.

2024 Rolling Stones All Dates-Support Poster. Credit: PRESS.

After The Rolling Stones’ Jazz Fest performance , they will be joined by both Electric Mud and Carin León in Glendale, Arizona. The Pretty Reckless will join Jagger and co. in Las Vegas, while it will be Joe Bonamassa in Seattle. The band will close out the first month on road with Lawrence in East Rutherford at MetLife Stadium for the second show date, as well as The Red Clay Strays in Foxboro.

Additionally, Tyler Childers will open in Orlando, Widespread Panic in Denver, Bettye LaVette in Chicago for night one at Soldier Field and Lainey Wilson on night two. The Stones will close out the series of dates in California with The War and Treaty opening the first night in Los Angeles at SoFi Stadium and The Linda Lindas on the second, followed by The Beaches in Santa Clara for the final stop.

Check out the full dates for the US ‘Hackney Diamonds’ tour above and visit here to purchase any last minute tickets .

Rock trailblazer Heart reunites for a world tour and a new song

FILE - Nancy Wilson, left, and Ann Wilson, right, of the band Heart perform as Heart is inducted into the Rock and Roll Hall of Fame during the Rock and Roll Hall of Fame Induction Ceremony at the Nokia Theatre on Thursday, April 18, 2013 in Los Angeles. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Danny Moloshok/Invision/AP, File)

FILE - Nancy Wilson, left, and Ann Wilson of Heart perform on opening night of the Heartbreaker Tour at the Cruzan Amphitheater in West Palm Beach, Fla., June 17, 2013. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Jeff Daly/Invision/AP, File)

FILE - Nancy and Ann Wilson of the classic rock band Heart perform in concert at the American Music Theater on Monday, March 24, 2014, in Lancaster, Pa. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Owen Sweeney/Invision/AP, File)

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NEW YORK (AP) — Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring and fall for a world tour that Nancy Wilson describes as “the full-on rocker size.”

“I’ve been strengthening. I’ve got my trainer,” she says. “You go one day at a time and you strengthen one workout session at a time. It’s a lot of work, but it’s the only job I know how to do.”

The Rock & Roll Hall of Famers who gave us classic tracks like “Magic Man,” “Crazy on You” and “Alone” will be playing all the hits, some tracks from of their solo albums — like Ann Wilson’s “Miss One and Only” and Nancy Wilson’s “Love Mistake” — and a new song called “Roll the Dice.”

FILE - Nancy Wilson, left, and Ann Wilson of Heart perform on opening night of the Heartbreaker Tour at the Cruzan Amphitheater in West Palm Beach, Fla., June 17, 2013. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Jeff Daly/Invision/AP, File)

Nancy Wilson, left, and Ann Wilson perform on opening night of the Heartbreaker Tour in West Palm Beach, Fla., June 17, 2013. (Photo by Jeff Daly/Invision/AP, File)

“I like to say we have really good problems because the problem we have is to choose between a bunch of different, really cool songs that people love already,” says Nancy Wilson.

Like “Barracuda,” a sonic burst which first appeared on the band’s second album, “Little Queen” and is one of the band’s most memorable songs.

“You can’t mess with ‘Barracuda.’ It’s just the way it is. It is great. You get on the horse and you ride. It’s a galloping steed of a ride to go on. And for everybody, including the band.”

The tour kicks off Saturday at the Bon Secours Wellness Arena in Greenville, South Carolina, and will hit cities including Atlanta, Boston, Baltimore, Pittsburgh, Milwaukee, Cleveland, Detroit, as well as the New Orleans Jazz and Heritage Festival and Red Rocks Amphitheater in Morrison, Colorado. International dates include stops in London, Oslo, Berlin, Stockholm, Montreal and Glasgow.

The band’s Royal Flush Tour will have Cheap Trick as the opening act for many stops, but Def Leppard and Journey will join for three stadium dates in Cleveland, Toronto and Boston this summer.

Ann and Nancy Wilson will be filled out by Ryan Wariner (lead and rhythm guitar), Ryan Waters (guitars), Paul Moak (guitars, keyboards and backing vocals), Tony Lucido (bass and backing vocals) and Sean T. Lane (drums).

The tour is the first in several years for Heart, which was rocked by a body blow in 2016 when Ann Wilson’s husband was arrested for assaulting Nancy’s 16-year-old twin sons. Nancy Wilson says that’s all in the past.

“We can take any kind of turbulence, me and Ann, and we’ve always been OK together,” she says. “We’re still steering the ship and happy to do it together. So we’re tight.”

The new tour will take them to Canada, which was warm to the band when they were starting out as what Nancy Wilson calls “a couple of chicks from Seattle.” She recalls Vancouver embracing Heart, and touring in one van across Canada in the dead of winter on two lane highways.

FILE - Nancy and Ann Wilson of the classic rock band Heart perform in concert at the American Music Theater on Monday, March 24, 2014, in Lancaster, Pa. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Owen Sweeney/Invision/AP, File)

The Wilsons at the American Music Theater on Monday, March 24, 2014, in Lancaster, Pa. (Photo by Owen Sweeney/Invision/AP, File)

The Wilson sisters broke rock’s glass ceiling in the ‘70s and Nancy Wilson says they only had male influences to look to, like Led Zeppelin, Pink Floyd, the Beatles, the Rolling Stones and the Moody Blues.

Now she says she looks out and loves seeing generations of female rockers. “You have boygenius and you have Billie Eilish and you have Olivia Rodrigo and so many amazing women — Maggie Rogers and Sheryl Crow, who calls us her big influence. And then Billie Eilish might have Sheryl Crow as her influence. So it’s a really nice legacy to pass along. I like to say we’re the OG — the original gangsters — of women and rock.”

Heart has made it into the Rock Hall, won Grammys, sold millions of albums and rocked hundreds of thousands of fans but Nancy Wilson has one place she’d still like to shine.

Next year will mark the 50th anniversary of their debut album, “Dreamboat Annie,” which was the same year that “Saturday Night Live” started. “So we’re actually kind of putting it out there — Heart never played on ‘Saturday Night Live.’ But what about the 50th birthday party with Heart?”

Mark Kennedy is at http://twitter.com/KennedyTwits

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