Electric Callboy, Polaris & Scene Queen
May 15, 2026
Place Bell, Montreal, QC
On May 15, Montreal Victoire fans weren’t the only ones celebrating in Laval. The previous night’s show at Place Bell had been pushed back by a day due to the PWHL Finals matchup between the Ottawa Charge and the Victoire, but in a strange way, the delay only added to the atmosphere. By the time the doors finally opened Friday night, the crowd was more than ready to explode.
Opening the evening was Scene Queen, who immediately won over the crowd with her mix of humor, chaos, and unapologetic personality. With only a simple curtain backdrop featuring her logo, she didn’t need much production to command attention. Early in the set, she acknowledged the postponement, enthusiastically supporting women’s sports and celebrating the Victoire’s playoff run. It was a genuine moment that connected instantly with the Quebec crowd.
Musically, her self-described “bimbocore” style felt like a collision of metalcore, pop culture, and internet-fueled absurdity. She was wildly entertaining from start to finish, whether encouraging fans to open up a “Twerkle Pit” — her twerking version of a circle pit — or cracking awkward jokes between songs. One particularly bizarre moment came when introducing her guitarist and drummer introducing Mutual Masterbation, spiraling into a bit about circle jerks that left parts of the crowd laughing while others exchanged confused looks.
Still, the set delivered exactly what it was supposed to: outrageous fun. “Barbie & Ken” stood out as a highlight a song that features Set it Off, bringing the perfect mix of heavy riffs and over-the-top theatrics that define her style.
Australian metalcore outfit Polaris wasted absolutely no time taking control of the room. They stormed onstage and launched directly into “Dissipate,” instantly shifting the night into a heavier gear. Frontman Jamie Hails sounded raw and intense, while the rest of the band delivered a crushingly tight performance.
Their eight-song set flew by far too quickly, balancing aggression and melody with precision. Every breakdown hit hard, every chorus landed, and by the time they closed with “Nightmare,” it felt like the audience was only getting warmed up. If anything, Polaris left the crowd wanting far more than the short opening slot allowed.
Then came the main event.
The second the curtain dropped, Electric Callboy transformed Place Bell into a full-scale rave-metal circus. Opening with “TANZNEID,” the band wasted no time unleashing confetti cannons, pounding bass, and flashing neon visuals before seamlessly rolling into a cover of Sum 41’s “Still Waiting.” The choice felt especially fitting with former Sum 41 drummer Frank Zummo behind the kit for this tour run.
From there, the crowd hopped aboard the “Tekkno Train” for nearly two hours of nonstop insanity. Costume changes came constantly. Confetti rained endlessly. Bass thundered through the venue with overwhelming force. It felt less like a concert and more like a giant neon-fueled party that never slowed down.
One of the most entertaining stretches came during their party medley, blending Blink-182’s “All the Small Things” with Drowning Pool’s “Bodies.” It was ridiculous in the best possible way, with the audience screaming every word while the low-end rattled the entire building.
The crowd itself became part of the spectacle. Fans showed up in outrageous neon outfits, costumes, and full rave-inspired attire, turning the floor into a sea of glowing colors. It perfectly matched the energy Electric Callboy brought to the stage.
But the night’s defining moment came midway through the show when the band suddenly appeared in the middle of the crowd for a stripped-down acoustic section. Asking everyone to sit down and put away their phones, they created an unexpectedly intimate campfire atmosphere inside an arena known moments earlier for total chaos. Acoustic renditions of “Fuckboi” and a cover of Maggie Reilly’s “Everytime We Touch” were genuinely spectacular and showed a completely different side of the band.
Not everything went smoothly. During “MC Thunder II,” the performance abruptly stopped due to what appeared to be a medical emergency in the crowd, though it thankfully turned out to be a false alarm. Behind the scenes, the tour was already dealing with adversity, as guitarist Pascal Schillo was absent from this leg while attending to family matters. To make matters worse, bassist Daniel Klossek injured his right foot during the show, yet somehow continued hopping around in a makeshift cast without missing a beat. That determination perfectly summed up the spirit of the night: no matter what happened, the party was not stopping.
And what a finish it was.
Closing with the triple knockout of “RATATATA,” “Spaceman,” and “We Got the Moves,” Electric Callboy delivered one final explosion of madness. For the last song, the band even appeared dressed exactly like they do in the music video, sending the crowd into one final frenzy.
Chaotic, loud, absurd, and unbelievably fun, this kickoff show for the second leg of the North American tour was everything an Electric Callboy concert should be. Even with a one-day delay, the band turned Place Bell into the wildest party Laval has likely ever seen.
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