Triumph Review with Photos 5-22-26

     “Some concerts entertain. Others remind you why you fell in love with rock and roll in the first place.”

    On a humid Texas evening in Sugar Land, the parking lots surrounding Smart Financial Centre buzzed with denim, vintage tour shirts and the unmistakable anticipation that only legacy rock can generate. By the time the house lights dimmed on May 22, fans weren’t merely attending another concert - they were stepping into a celebration of Canadian rock royalty.

    With April Wine opening and Triumph headlining, the night carried the weight of history and the electricity of rediscovery, from the first chord to the final encore it felt like witnessing a reunion decades in the making.

April Wine Lights the Fuse

     “April Wine didn’t warm up the crowd - they reminded everyone why they were stars to begin with.”

    Long before streaming playlists and viral hits, April Wine built its reputation mile by mile and city by city. Formed in Halifax in 1969 before establishing themselves in Montreal, the band became one of Canada’s most enduring rock institutions. At the heart of their rise stood songwriter and vocalist Myles Goodwyn, whose melodic instincts helped transform April Wine into a multi-platinum force through the 1970s and ’80s. Songs like “Roller,” “Just Between You and Me,” “I Like to Rock” and “Sign of the Gypsy Queen” turned the group into FM-radio fixtures across North America. The loss of Goodwyn in 2023 could have marked the closing chapter, Instead April Wine chose to carry the torch.

    Their current lineup - longtime guitarist Brian Greenway, Richard Lanthier on bass and backing vocals, vocalist and guitarist Marc Parent and drummer Roy Nichol approached the Sugar Land crowd with equal parts reverence and swagger. They wasted no time getting down to business.

    Opening with the unmistakable riff of “I Like to Rock,” April Wine immediately transformed Smart Financial Centre from a seated venue into a rock-and-roll celebration. Greenway’s guitar snarled with vintage authority while Lanthier commanded the stage with confidence, setting a tone that felt less like an opening act and more like a headline-worthy statement.

    Rather than easing into the evening, the band kept the throttle open with “Anything You Want, You Got It” followed by “All Over Town,” leaning into the gritty, barroom swagger that helped define their classic sound. The pairing showcased April Wine’s ability to blend hard-driving rock with irresistible melody and the crowd responded accordingly.

     “April Wine came out swinging and never loosened their grip on the room.”

    A warm greeting to the audience introduced “Say Hello,” whose easygoing groove allowed the band to settle into a conversational chemistry with the Texas crowd. Any momentary calm disappeared when “Enough Is Enough” arrived, Nichol driving the song forward with muscular drumming while Greenway’s guitar work continued to slice cleanly through the mix.

    One of the evening’s most heartfelt moments came next. Before “Before the Dawn,” Richard Lanthier took a moment to shine the spotlight on Brian Greenway, introducing him as the longest-serving member of April Wine and noting that he had been with the band since 1977. The acknowledgment drew loud applause from the Sugar Land crowd before Greenway stepped forward to handle lead vocals. The song itself carried genuine emotional weight.

    Bathed in softer lighting, “Before the Dawn” offered a reflective pause amid the harder-edged material and reminded listeners that April Wine’s catalog was built on far more than driving riffs alone. Greenway delivered the performance with understated sincerity, and the audience responded with appreciative silence before erupting in applause.

    That quieter moment gave way to the driving groove of “Right Down to It,” restoring the electricity inside the venue and proving the band still possessed plenty of bite. The song’s bluesy swagger and no-frills rock energy fit naturally within the set, with Marc Parent and Brian Greenway locking into a chemistry that kept the crowd fully engaged.

    Then came the stretch that truly sealed the set. “Just Between You and Me” turned Smart Financial Centre into a massive singalong, voices rising throughout the room as longtime fans embraced one of the band’s most beloved ballads. From there, the band launched into “Sign of the Gypsy Queen,” their celebrated take on the Lorence Hud composition. The performance carried a darker, mystical atmosphere, its dramatic arrangement sounding every bit as powerful today as during the band’s arena-rock peak.

    For the finale, April Wine delivered exactly what the audience hoped for - “Roller.” The song thundered through Smart Financial Centre with fists pumping and heads nodding throughout the crowd. Parent stalked the stage with confidence while Greenway’s guitar cut through the room with unmistakable fire, bringing the set to a triumphant close.

     “By the end of ‘Roller,” April Wine hadn’t simply opened the show - they had reminded everyone why Canadian rock remains one of the genre’s most durable exports.”

    Their set ended to a standing ovation that felt less like appreciation for an opener and more like gratitude toward survivors of rock’s golden age.

The Return of Triumph

     “Triumph didn’t walk onstage like legends, they stormed it like they still had something to prove.”

    As the venue lights fell again, the roar that followed sounded less like applause and more like release.

    Triumph’s return has carried enormous emotional weight among classic rock fans and seeing the band command a stage once more felt almost surreal.

    The story of Triumph began in Toronto in 1975 when guitarist and vocalist Rik Emmett, drummer and vocalist Gil Moore and bassist-keyboardist Mike Levine formed a power trio that would soon carve its own path through arena rock history.

    Though comparisons to Rush followed them throughout their rise, Triumph cultivated an identity entirely their own - equal parts hard rock muscle, progressive ambition and philosophical lyricism. Their albums, to name a few - Rock & Roll Machine, Just a Game, Progressions of Power and Allied Forces - produced enduring classics and established Triumph as masters of the large-scale live experience.

The Sugar Land stop did came with a bittersweet footnote.

    Founding bassist and keyboardist Mike Levine did not perform at the May 22 show due to unspecified hand problems and ongoing health concerns. His absence was acknowledged in spirit throughout the evening, a reminder that even rock legends face battles away from the spotlight. Still, Triumph pressed forward with determination.

    The Sugar Land performance featured original members Rik Emmett and Gil Moore leading the charge, joined by touring guitarist Phil X, bassist Todd Kerns and the multi-talented Brent Fitz, who doubled impressively on both drums and keyboard duties while helping fill the sonic space normally occupied by Levine.

     “The missing presence of Mike Levine was felt, but with Rik Emmett and Gil Moore sharing the stage once again - and Phil X adding fresh firepower - Triumph’s spirit remained unmistakably intact.”

    The show opened with “When the Lights Go Down,” an almost poetic choice as the stage erupted beneath sweeping lights and rolling smoke. The song served as both declaration and ignition point, immediately followed by “Somebody’s Out There,” whose melodic hooks had the audience singing before the first chorus landed.

    If the opening moments felt celebratory, “Spellbound” brought muscle and urgency, with Emmett and Phil X forming a formidable twin-guitar attack while Moore’s thunderous drumming shook the room.

     “This wasn’t nostalgia on cruise control - this was arena rock with its fists still clenched.”

    The emotional center of the early set emerged through “Hold On,” its hopeful message ringing with renewed resonance decades after its release. Without allowing the energy to sag, Triumph shifted into the metallic charge of “Allied Forces,” the title track arriving like a battle cry and drawing fists high into the Sugar Land air.

    Before leading into “Hold On” Emmett told the story about how back in 1976 Gil and Mike had invited him into the band. He reminisced that he told them that if they could pay him $175 a week, whether they were working or not, he would join them. That would allow he and his girlfriend to move out and get married, which they did, so this year they are celebrating their 50th wedding anniversary.

Then came one of the night’s most theatrical moments. “Blinding Light Show” lived up to its legendary reputation as background displays and moving lights transformed Smart Financial Centre into a dazzling spectacle reminiscent of Triumph’s arena dominance during the late ’70s and ’80s. The performance segued seamlessly into a brief snippet of “Little Texas Shaker,” a playful nod that delighted longtime followers before the band slammed headfirst into “Rock & Roll Machine.” From there, the performance became pure rock theater.

    Midway through “Rock & Roll Machine,” Triumph leaned fully into its jam-heavy spirit with a string of musical detours that brought the crowd to its feet. First came a snarling tease of “Black Dog,” followed by a blistering flash of “Eruption,” before the band swerved unexpectedly into the country-flavored humor of “King of the Road.” Each snippet landed with playful spontaneity before Triumph triumphantly returned to a reprise of “Rock & Roll Machine,” bringing the song full circle in a glorious explosion of lights and volume.

    The crowd roared when Triumph veered into “Rocky Mountain Way,” paying tribute to Joe Walsh with a swaggering cover that felt perfectly suited to Texas. However the night was about more than power and lights. “Never Surrender” landed with undeniable emotional force, its message of perseverance carrying added meaning given the circumstances surrounding the tour. Voices rose from every section of the venue as the chorus became a collective statement.

    That momentum carried straight into “Lay It on the Line,” perhaps the evening’s loudest collective singalong. Todd Kerns anchored the groove with authority while Emmett and Phil X traded guitar firepower that balanced technical precision with genuine joy.

    A special surprise followed when the band offered an introductory snippet of “24 Hours a Day,” spotlighting a soaring Rik Emmett-inspired guitar moment that earned one of the evening’s warmest reactions. From there, the mood softened beautifully. “Follow Your Heart” washed over the venue with emotional sincerity, setting the stage for the communal glow of “Magic Power” during which generations of fans sang together, transforming the room into a choir.

     “For five minutes during ‘Magic Power,’ Smart Financial Centre stopped feeling like a venue and started feeling like a memory.”

    Clearly Triumph had saved their knockout punch for the encore. The band returned to thunderous applause and launched into “I Live for the Weekend,” a song that sounded tailor-made for nights exactly like this - loud, joyous and gloriously unapologetic. Then came the closer everyone hoped for - “Fight the Good Fight.” The song has always carried an almost spiritual gravity and in Sugar Land it felt monumental. Emmett’s vocals carried conviction while he and Phil X unleashed soaring guitar lines that brought the evening to its emotional peak. As the final notes rang beneath blinding lights and deafening cheers, the crowd remained standing - celebrating not simply a band, but a legacy that continues to endure despite time, distance and even absence.

    Mike Levine may not have been physically present, but his fingerprints on Triumph’s music were impossible to miss, while the sight of Rik Emmett and Gil Moore sharing the stage again - with Phil X and Todd Kerns adding modern fire to Triumph’s classic sound - served as the emotional heart of the night.

     Smart Financial Centre has hosted its share of major performances but few have delivered this particular combination of sentiment, musicianship and spectacle. April Wine reminded the crowd why their catalog still matters. Triumph reminded everyone why their absence had been felt for so long. For one night Texas belonged to Canada and judging by the smiles leaving the venue, nobody minded that trade one bit.

Triumph:
When the Lights Go Down
Somebody's Out There
Spellbound
Hold On
Allied Forces
Blinding Light Show
Little Texas Shaker (Snippet)
Rock & Roll Machine
Black Dog (Led Zeppelin cover) (Snippet)
Eruption (Snippet)
King of the Road (Snippet)
Rock and Roll Machine (Reprise)
Rocky Mountain Way (Joe Walsh cover)
Never Surrender
Lay It on the Line
24 Hours a Day (Snippet)
Follow Your Heart
Magic Power
Encore:
I Live for the Weekend
Fight the Good Fight

April Wine:
I Like to Rock
Anything You Want, You Got It
All Over Town
Say Hello
Enough Is Enough
Before the Dawn
Right Down to It
Just Between You and Me
Sign of the Gypsy Queen (Lorence Hud cover)
Roller