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The Commodore Ballroom was awash in glam-rock excess and soaring falsettos on November 18, 2025, as The Darkness rolled into Vancouver. The British rock outfit, known for their over-the-top stage presence and commitment to arena-sized riffs, delivered a performance that was equal parts hilarious, technically brilliant, and fiercely rock and roll. The sold-out crowd was a sea of adoring fans, ready to embrace the band’s blend of seventies extravagance and pure, unadulterated musical bombast.
Frontman Justin Hawkins commanded the stage from the start, dressed in his signature spandex and hair flowing, opening the set with the celebratory “Rock and Roll Party Cowboy.” The energy was immediate and high-octane. This quickly led into tracks like “Growing on Me” and the crowd-pleasing hit “Get Your Hands Off My Woman.” Hawkins’ interaction with the audience was key, mixing self-deprecating humour with genuine rock star swagger, setting a mood of joyful, theatrical abandon that lasted the entire night.
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The core of The Darkness’s sound lies in the impeccable musicianship of the four members. Guitarist Dan Hawkins (Justin’s brother) delivered blazing, sustained solos that were as crisp as they were heavy, particularly shining on “Motorheart” and “Barbarian.” The rhythm section provided a taut, propulsive backbone, allowing Justin the freedom to roam the stage and hit notes only dogs can hear. Every song felt massive, perfectly filling the iconic Commodore Ballroom.
The set list was peppered with thrilling and unexpected cover choices that highlighted the band’s musical sense of humour and technical skill. Who else could follow a heavy track like “Dead Flowers” (The Rolling Stones cover) with a pitch-perfect rendition of “The Power of Love” (Céline Dion cover) and then segue into a partial version of “Christmas Time (Don’t Let the Bells End)”? These unexpected moments, including a lightning-fast run through the partial “Immigrant Song” (Led Zeppelin cover), were met with thunderous applause and laughter.
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The main set climaxed with the band’s biggest anthem, “I Believe in a Thing Called Love.” The energy was explosive, with every person in the venue singing along with the iconic guitar riff and that legendary, stratospheric chorus. This track solidified the night’s feeling of pure, uplifting rock celebration. The audience was left breathless, certain that the show was over.
However, The Darkness returned for a powerful three-song encore, which included a completely unexpected cover of Bryan Adams’ “Summer of ‘69” that delighted the Vancouver crowd. They concluded the night with the fierce energy of “One Way Ticket” and the powerful self-reflection of “I Hate Myself,” confirming that beneath the glitter and spandex lies a truly magnificent and enduring hard-rock band. The Darkness did not just play the Commodore; they owned it, delivering a performance that was loud, glamorous, and utterly unforgettable.
