NINE INCH NAILS
FEBRUARY 16th, 2026
BELL CENTRE, MONTREAL, QC
On February 16, 2026, the Nine Inch Nails turned the Bell Centre into something far more than an arena show — it became an immersive, industrial cathedral. We walked in excited. We walked out completely blown away.
Boys Noize Sets the Tone
The night opened with a DJ set from legendary German producer Boys Noize, who commanded a small stage positioned at the back of the arena. Bathed in deep red lights, his setup felt stark and deliberate — minimal but menacing. For a full hour he built tension with pounding electro textures that perfectly primed the crowd for what was coming.
The highlight? A thunderous spin of “People Are Still Having Sex” that had the arena pulsing. It was hypnotic, grimy, and exactly the kind of slow-burn ignition this show needed.
Trent Appears — Intimate and Haunting
Unlike other tours, there was no dramatic blackout-to-main-stage reveal. Instead, as the final notes of the opener faded, Trent Reznor appeared alone on a square middle stage embedded in the crowd. No bombast. No warning. Just presence.
He began with “Something I Can Never Have,” and the arena fell into stunned silence. His voice control was unreal — restrained, emotional, precise. It felt intimate, you could feel the collective shiver ripple through the audience.
During “Non-Entity,” the rest of the band gradually joined him, expanding the sonic weight before launching into “Piggy (Nothing Can Stop Me Now).” From there, they made their way toward the main stage, the momentum steadily building.
Behind the Curtain
Once on the main stage, the band unleashed a barrage of six songs performed behind a white, see-through curtain. The concept was visually ambitious: a roaming videographer captured live, gritty footage — projected in real time — including stylized, almost gorilla-like camera work that gave everything a raw, documentary feel.
It was undeniably cool as a concept.
But honestly? That roaming cameraman was distracting — almost to the point of irritation. While the visuals were inventive, at times it felt like they overshadowed the absolutely ferocious performances happening on stage. Watching Reznor, Atticus, and the rest of the band fire on all cylinders should have been enough.
Still, when “March of the Pigs” hit, none of that mattered. The crowd completely lost it.
“Copy of A” delivered one of the night’s most striking visuals: multiple projected versions of Reznor layered across the curtain, fragmented and multiplied, perfectly mirroring the song’s themes of identity and replication. It was chaotic and mesmerizing.
B-Stage Collaboration
Midway through the show, Nine Inch Nails joined Boys Noize on the B-stage for a four-song collaborative segment, including a remix of “Closer.” It was heavy, distorted, and undeniably powerful. Still, as good as the remix was, part of me longed for the raw punch of the original version. Some songs are untouchable.
The Final Run — Pure Power
When they returned to the main stage — this time with the curtain gone — the show shifted into overdrive.
“The Perfect Drug” absolutely exploded. There was something about hearing it live in 2026 that made it hit differently — darker, sharper, more urgent.
Then came their collaboration with David Bowie, “I’m Afraid of Americans.” The song felt chillingly relevant, maybe even more now than when it was first released. The tension in the room was palpable.
They didn’t let up.
“The Hand That Feeds.”
“Head Like a Hole.”
Each one landing with precision and force.
And then, a haunting, stripped-down “Hurt.” No spectacle. Just vulnerability. The entire arena seemed to hold its breath.
Final Thoughts
This wasn’t just a concert. It was an experience — layered, ambitious, occasionally chaotic, but overwhelmingly powerful. Nine Inch Nails proved once again why they remain one of the most vital live acts on the planet.
So much talent. So much intensity.
We loved every second of it.
Photos: Tim Snow/Evenko