The final stop of Triumph’s Rock & Roll Machine Reloaded Tour rolled into Place Bell in Laval, and April Wine provided the perfect opening chapter to an unforgettable night of Canadian rock. Just Between You and Me, there may not have been a better way to kick things off. By the time Triumph took the stage, fans were completely Spellbound, and when Rik Emmett finally Laid It on the Line, the arena responded with the kind of roar that only comes from decades of anticipation.
Walking into Place Bell, there was curiosity about what an April Wine lineup without its original members would sound like. Those questions disappeared within minutes.
Launching into “I Like to Rock,” followed by “Oowatanite” and “All Over Town,” the band wasted no time reminding everyone why these songs have endured for generations. Fans sang along from the opening notes, turning the arena into one massive chorus. The connection between band and audience felt immediate, less like a concert and more like a reunion with old friends.
Frontman Marc Parent carried the torch with confidence and sincerity. He was personally chosen by Myles Goodwyn before his passing in 2023, Parent brought both power and authenticity to classics like “Enough Is Enough,” “Just Between You and Me,” and a thunderous rendition of “Sign of the Gypsy Queen.”
The emotional high point came during “Just Between You and Me.” As images honoring Goodwyn appeared on the screens, thousands of phone lights illuminated the arena. For a few minutes, Place Bell felt united by a shared memory and a shared appreciation for the man whose voice helped define Canadian rock for decades.
By the time “Roller” brought the set to a close, the crowd was on its feet, cheering as though they had just witnessed the band’s glory years all over again. This wasn’t about recreating the past. It was about celebrating it. April Wine proved that great songs, genuine passion, and a deep connection with fans can keep a legacy thriving, while setting the perfect tone for what was still to come.
As the lights dimmed, a wave of anticipation swept across the arena. Conversations stopped. Drinks were set down. Eyes turned toward the massive screen behind the stage as Triumph’s history unfolded before the fans. Classic logos, album covers, and vintage photos of Rik Emmett, Gil Moore, and Mike Levine flashed across the screen, drawing louder cheers with every image.
Then everything went dark.
For a brief moment, the arena held its breath.
A deafening roar exploded from the crowd as Triumph came onto the stage and started playing “When the Lights Go Down.” Two drum sets dominated the stage, lasers sliced through the darkness, and the opening notes hit with incredible force. Fans who had waited decades to witness this moment were instantly on their feet.
Without pause, the band charged into “Somebody’s Out There” and “Spellbound,” transforming Place Bell into one giant singalong. The energy inside the building was impossible to ignore.
What impressed me most was how little this felt like a reunion tour. There was no sense of a band simply revisiting old glories. Rik Emmett’s guitar playing remained as expressive and electrifying as ever, while Gil Moore attacked every song with the intensity and drive of someone half his age.
Phil X, Todd Kerns, and Brent Fitz brought their own personality and energy to the performance, adding fresh life to the material while honoring the spirit that made Triumph one of Canada’s most beloved rock bands.
Everywhere you looked, something was happening. Guitar solos soared above the mix. Synchronized drumming shook the arena. Giant video screens delivered stunning visuals while bursts of pyrotechnics lit up the stage. The production was spectacular, but it never overshadowed the music.
During “Lay It On the Line” and “Magic Power,” the audience became part of the performance. Thousands of voices rose above the band, singing every word. Strangers stood shoulder to shoulder, united by songs that had soundtracked road trips, parties, and memories spanning generations.
When Triumph closed the main set with “Magic Power,” nobody seemed ready for the night to end. The applause rolled through the arena long after the final note faded.
The band returned for an encore that began with “I Live for the Weekend” before delivering the perfect finale with “Fight the Good Fight.” As the final chorus echoed throughout Place Bell, the moment felt bigger than a concert. It felt like a celebration of Triumph’s music, their legacy, and the connection they have maintained with fans for decades.
After more than 30 years away from Montreal stages, Triumph didn’t return as a nostalgia act. They returned as a reminder of why Canadian rock once ruled arenas.
For nearly two hours, Place Bell was filled with memories, passion, and pure rock-and-roll joy. By the time the house lights came up, thousands of fans were left with the same feeling: they hadn’t simply watched a concert, they had been part of something special.
Review & Photos By: © SD Photoart MTL : Sam Duchoeny
