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Silverstein, Thursday, Arm’s Length, and Split Chain, took over l’Olympia this past Saturday, February 15th. It’s Silverstein’s 25th-anniversary tour, and they brought a stacked lineup, ranging from 2000s legends Thursday to steadily rising Arm’s Length and new kids on the UK block Split Chain. Silverstein has been a constant presence in the Montreal live music scene, touring here nearly every year and performing to larger and larger crowds in some of Montreal’s biggest dedicated music venues.

L’Olympia is one of the older venues in Montreal, celebrating its 100th year this year. It’s got the traditional charm of a theatre venue, with a large stage and red wooden panelling - hand-carved, ornate - decorating the walls and impressively high ceiling. It’s a venue deserving of its grandeur, and an exciting place to be for live music. The hall was packed Saturday night, crowded with die-hard Silverstein fans already wearing their merch - whether bought in the long lineup that day or from one of their previous dates in Montreal.

The night opened with Split Chain. Hailing from the UK, they’re a band that calls back to 2000’s nu-metal, shoegaze, and grunge, while bringing fresh textures and energy and a modern production. This tour, with Silverstein, was their first-ever North American tour (they called it the “US” tour, but we’ll forgive them). It’s not surprising that they’ve been on an upward trend, releasing 10 singles in the last two years and with an upcoming headlining UK & IRE tour. It was an energizing, enveloping set, both punchy and emotional. I have no doubt they’ll have albums forthcoming in no time, and can’t wait to hear their next project.

Arm’s Length was next. An emo band hailing from Quinte West, Ontario, they’ve skyrocketed in popularity in the last few years. They’re the youngest age-wise of all the bands that played, with frontman Allen Steinberg commenting on how surreal it is to be performing for so many people when they were all around twenty-five. They had a lot of fans in the crowd, singing all the lyrics by heart. It’s a wonderful experience at live shows in the emo-adjacent scene, where crowd participation is encouraged. They played 7 songs, primarily from their 2022 debut album Never Before Seen, Never Again Found, released on Wax Bodega Records. It’s a softer focused emo/emo pop sound reminiscent of The Hotelier. They also performed “Funny Face” off their upcoming album There's a Whole World Out There.  

Thursday was next. I won’t try to hide it - they’re the reason I wanted to go to this show in the first place. Their newest single, “White Bikes”, has been stuck in my head nearly every morning this past month. It’s a beautiful song about a dear friend who disappeared. It’s no surprise, given the emotional resonance their songs have, that they’re considered legends by a number of my favourite artists. Formed in 1997, they’re a band that’s so important to the 2000s emo and post-hardcore scene, mega-influential in their screaming vocal style. Their music is deeply personal and political, addressing themes ranging from war and the military-industrial complex, to love and grief. They bring all of this energy and more to their live performances. It started with a voiceover announcing the band, which was unusual but funny nonetheless. The first member to appear onstage was actually not a Thursday member, but Wade McNeal from post-hardcore band Alexisonfire, who was replacing Tom Keeley for the show. Geoff Rickly, frontman and vocalist, is at ease as both a performer and a frontman. He has captivating energy, with smooth choreography and a sense of timing perfected over years. He took the time to talk about how it feels being an American band in Canada right now, and the feeling of shame at how his country is treating ours. The set started off with “The Other Side of the Crash/Over and Out (Of Control)”, a favourite from their album A City by the Light Divided. They followed up with “Cross Out The Eyes”, “Signals Over The Air” and “Jet Black New Year”, all energetic and moshable tracks. Geoff Rickly had just begun the opening vocals of the ballad “This Song Brought To You By A Falling Bomb” when the music cut - a fire alarm had gone off. Why during Thursday? Couldn’t it have happened between sets (or anytime after Thursday, really). The building did not (thankfully) burn down, nor were we evacuated, it seemed it was a false alarm. We did, however, have to wait for fire personnel to ensure that the building was safe, which probably took some twenty minutes. Returning to the stage, Rickly graciously told us that Thursday would only play two more tracks so as not to cut into Silverstein’s set. They ended by thanking each of the members of the band, including replacement drummer Jeff Gensterblum, then joking that Wade McNeal could sleep in his own bed tonight. While I wish their set had been longer, it was a fun, exciting set and I can’t wait to see them next time they come to Montreal, which will hopefully be soon.

The final act was the most awaited, the final stop on Silverstein’s anniversary tour. Their set opened with a video-projected trailer of sorts, recapping their twenty-year journey from Burlington, Ontario obscurity into l’Olympia-level stardom. They have a real rockstar energy to them, with an elevated drummer, and multiple visual projections on the stage. Their set was rock-solid, with incredibly precise playing, and album-ready live production. And the energy was Non. Stop. With transitioning quickly from one song to the next, never pausing for a breath or for a beat, the moshpit did not let up for a second. They played a career-spanning set, with four tracks from the second album Discovering the Waterfront, and one or two from every other one, including two tracks from the upcoming 2025 album Antibloom. You can find the entire setlist here. Hearing the span of their career gives you an appreciation for the recent rise in popularity. Their sound has evolved from a more hardcore-influenced sound to incorporate pop and EDM-like energy, giving them a widespread appeal while still keeping that punk edge. They played an immense set, with seventeen regular tracks and three encore tracks, nearly one for every year of the band’s existence. A memorable final set from their huge anniversary tour.

We are sad to hear the news that a former volunteer, broadcaster, and promotions director at CJLO, Danny Leo, suddenly passed away earlier this year.  Those who knew Danny will certainly remember his incredibly friendly and lively personality - Danny was such a positive presence during his time at the station, and being around him elevated everyone's mood.  Deepest condolences to his family and friends, and to all past and present CJLO volunteers who remember his effervescent vibe.

If you can, please donate in Danny's memory to a local charity organization that supports women of domestic violence, rehabilitation, and housing.  You can choose a local charity from this website: https://amiquebec.org/women/

Remi interviews Anne-Claire Lefaivre, spokesperson for the National Film Board of Canada about this year's edition of Black History Month programming.

Entering a dreamscape where reflection and exhilaration entwine, Inhaler presents their much-awaited third studio album Open Wide. Where Inhaler’s earlier albums (It Won’t Always Be Like This and Cuts & Bruises) were heavily rooted in indie rock tradition; big choruses, driving guitars, and a polished but live-feeling production, Open Wide feels more layered, and unpredictable. It carries a sense of urgency as if the band is reaching for something beyond their grasp. 

Inhaler took a risk by enlisting Kid Harpoon as the producer for Open Wide, and it paid off, helping to create their most daring album to date. Harpoon, who is well-known for his collaborations with Florence + The Machine and Harry Styles, is known for fusing modern, sleek production with organic instrumentation, and this influence is clear throughout the album. 

Kicking off the album with something almost nostalgic to their old sound is “Eddie in the  Darkness”. The track is both haunting and inviting—it doesn’t explode onto the scene but instead pulls you in slowly, setting the tone for an album that thrives on exploration and emotional depth. 

“Your House” is one of the album’s more immediate moments—an indie rock anthem with flair; shimmering guitars, a backing choir and a driving beat, reminiscent of their earlier work but with a smoother, more refined edge. “A Question of You” takes a dreamier, more introspective approach, built around swirling synths and melancholic vocals. Whereas everything about “Billy Yeah Yeah Yeah” feels designed to get people moving. It's the type of song that seems unstoppable and doesn't let up until the very end, whether it's the addictive vocal delivery, the driving beat, or the punching guitar riffs. 

Despite its sonic evolution, this record still delivers those cathartic moments that Inhaler  fans love. The album's most emotionally impactful tracks, “Even Though and Again”, combine some of their most heartfelt lyrics with simple composition. It's a vulnerable moment that highlights the band's development; not every song has to have a huge chorus to make an impression. — “It's life,  it's heavy, tears at your sleeve sometimes. It's gold, it's glory, after the battle lines. And you'll love too soon, too soon it'll be removed. Let's go at this again. Again," (Lyrics from Again). 

Elijah Hewson’s performance on “Open Wide” is undoubtedly his most versatile and nuanced to date. He balances the confidence and energy of his earlier work with a newfound restraint and emotional depth. As the band broadens their sound and Hewson pushes his voice to new heights,  this vocal development reflects the album's musical development. 

In the context of the album, “All I Got Is You”, “Still Young” and “The Charms” sit at an interesting crossroads. They tend toward a more optimistic sound, which feels almost refreshing for the collective. Songs that seem effortlessly cool at first glance yet have a lasting impact. It’s a reminder that sometimes, the charm is in the subtlety.

Thanks to guitarist Josh Jenkinson — one of the biggest shifts in “Open Wide” is its greater emphasis on rhythm and feeling rather than perfected chords. Where their previous albums relied heavily on driving guitar lines, this album leans into deeper, more hypnotic rhythms. Bassist Robert Keating and drummer Ryan McMahon play a more central role in the album’s sound, often providing the foundation while the guitars and synths weave around them. 

“X-Ray” and “Concrete” prove to be the most daring and sonically adventurous tracks on Open Wide, marking a significant departure from Inhaler’s signature anthemic indie rock. “Concrete” is one of the most intense and heavy tracks in the album. The song evokes a feeling of distress and chaos with its frantic energy and elevated tempo. In contrast, “X-Ray” uses its atmosphere, groove, and hypnotic rhythm to pull the listeners into a much darker and more electronic space. 

Closing an album is just as important as opening it, and with “Little Things”, Inhaler deliberately chooses to leave listeners on a reflective yet quietly powerful note. While their previous records ended with roaring finales (It Won’t Always Be Like This’ “In My Sleep” and Cuts &  Bruises' “Now You Got Me”), “Little Things” feels like a soft exhale rather than a dramatic climax. It’s reflective and filled with a sense of a bittersweet closure, bringing Open Wide to an end not with a bang, but with a deep exhale. 

With Open Wide, Inhaler proves they’re not just repeating the past. Though they are moving forward, changing, and reinventing their sound, there is a hint of nostalgia throughout the record,  but not in a way that makes it feel stuck in the past. Open Wide wants to be felt just as much as it is heard. 

Listen to Open Wide here