RECAP: BEABADOOBEE BRINGS ‘THE POWERLINES TOUR’ TO VANCOUVER
beabadoobee returned to Vancouver on October 28, bringing The Powerlines Tour to Rogers Arena for the fourth local performance of her career and her first at the venue. Seven years after opening for Clairo at Harbour Convention Centre in October 2019, and only 18 months after headlining Pacific Coliseum, the Filipino born, London raised singer reached Rogers Arena during the penultimate North American date of her first arena tour. Vancouver was stop 17 of the 18 show North American run and stop 17 of 43 currently announced concerts, arriving after Oakland before the tour moved to Seattle to close its opening leg.
Photos by Tage Stenner / Backspin HQ
The growth was visible before the music started. Merchandise queues stretched across multiple sections of the Rogers Arena concourse, among the longest Backspin has encountered while covering concerts at the venue. The move to Rogers Arena followed a steady Vancouver progression from supporting Clairo at Harbour Convention Centre in 2019, to headlining the Commodore Ballroom in 2022, Pacific Coliseum in 2025, and now the largest local stage of her career.
Opening artist Wisp brought her shoegaze influenced sound to Rogers Arena before beabadoobee took over. During the unreleased ‘Butterflies’, fans stood with phone flashlights illuminated across the arena, while a Hello Kitty themed guitar provided one of the more distinctive visual details of her set. The Bay Area musician, born Natalie Lu, has moved quickly from the online success of ‘Your face’ into larger touring opportunities, with The Powerlines Tour placing her in arenas across North America.
When beabadoobee arrived, the production immediately established the visual world of Pylon. A large rust red electrical transmission tower rose over the stage, with powerlines stretching above roadside inspired flooring, rocks, scrub vegetation and a streetlamp. An attached telephone would become part of the performance later, while the stage itself turned the album’s central imagery into something physical rather than leaving the title as an abstract reference.
‘Sun Has Set’ opened the concert before the set moved between new material and songs that had followed beabadoobee through earlier stages of her career. ‘10:36’, ‘Apple Cider’, ‘Take a Bite’ and ‘Care’ appeared early alongside newer songs such as ‘Radio’, where illuminated powerlines above the stage reinforced the electrical theme running through the production. Eleven songs from Pylon appeared across the published Vancouver set, making the new record the clear centre of the night without abandoning the catalogue that had brought her to this point.
The production reflects an album shaped heavily by life between cities. The title Pylon comes from the electrical transmission towers beabadoobee repeatedly noticed while travelling on previous tours, structures that began reminding her of home and the people she missed while away. Themes of distance, communication and isolation run through the record, while its heavier guitars push further into alternative rock, grunge and shoegaze than some of her earlier work.
In Vancouver, one of those ideas suddenly became much more specific. After an acoustic performance of ‘Coffee’, beabadoobee paused before the next song and worked through a memory until she realized where it had been written. “I wrote this song in Vancouver!” she announced before explaining that the song was ‘Pylon’, the title track of the album now shaping the largest tour of her career.
What followed became the most personal part of the night. She recalled how unhappy she had been during the earlier tour when she wrote it, describing the loneliness of being away and missing someone she loved. Returning to Vancouver brought those memories back, particularly while she was alone in her hotel the previous evening. The person was still on her mind, but the way she felt about being on the road had changed.
“So, to think back to when I wrote this song in Vancouver, and how sad I felt on tour... I mean, this entire album was on tour,” she told the audience. She described performing the material each night as cathartic and added that it was “really special” to play the song in the place where she had written it.
The difference between then and now became the point of the story. beabadoobee explained that although she still missed the person she had been thinking about when she wrote ‘Pylon’, she felt happier returning to Vancouver this time. “Tour’s not so sad anymore,” she said before offering one of the clearest statements of the evening: “Everything gets better, and I’m living proof that it does.” Then she played ‘Pylon’ in the city where it began.
The significance continued after the song finished. beabadoobee embraced a bandmate who had helped her write it, then wiped tears from her eyes before moving ahead with the concert. It connected Vancouver to Pylon in a way no tour routing statistic could. The city had been part of the loneliness that inspired the record’s title track, and seven years into her local concert history, she was returning as a Rogers Arena headliner describing how differently touring now felt.
That connection also gave the stage design more meaning. The transmission tower dominating Rogers Arena was not simply an oversized piece of scenery. It represented the same structures beabadoobee had watched pass by while touring, while the powerlines, roadway environment and telephone turned ideas of movement, distance and communication into recurring physical elements.
The set continued to move between different stages of her catalogue, including ‘Pictures of Us’, the unreleased ‘The Road’, ‘Memories’, ‘Glue Song’ and ‘the perfect pair’. The balance made sense for a first arena tour. Pylon supplied most of the new musical and visual identity, while older songs remained in place as reminders of how quickly the scale around them had changed.
The title of the tour became especially literal during ‘Powerlines’, when beabadoobee climbed into the central transmission tower and performed from an elevated platform built into the structure. Later, ‘Satellite’ incorporated the telephone attached to the scenery, with her vocals processed through the receiver to create a distorted phone effect. Both moments used pieces of the stage for more than decoration, connecting individual songs directly to the larger ideas running through the record.
Those larger production choices also marked a clear change from her previous Vancouver visit. When beabadoobee played Pacific Coliseum in April 2025 during The Space In Between Tour, songs including ‘Take a Bite’, ‘Glue Song’, ‘Coffee’, ‘Beaches’, ‘She Plays Bass’ and ‘the way things go’ were already part of the set. Many remained in 2026, but they now existed inside a much larger production built specifically around Pylon.
The album itself arrived only six weeks before Vancouver. Released September 18 through Dirty Hit and Interscope, Pylon became beabadoobee’s second consecutive No. 1 album in the United Kingdom, reached No. 1 in Australia and entered the Billboard 200 at No. 7 in the United States. Its collaborators stretch across several corners of alternative music, including Hayley Williams, Brendan Yates of Turnstile, Chino Moreno of Deftones and Evan Stephens Hall of Pinegrove, though none of those recording collaborations were part of the Vancouver performance.
The latter portion continued through songs including ‘Post’, ‘It’s Alright’, ‘Talk’, ‘Switchblade’, ‘She Plays Bass’ and ‘Cologne’ before ‘In Motion’ closed the published main set. During ‘In Motion’, sparks erupted from the transmission tower, taking the production’s electrical imagery to its most literal point before the encore.
The published Vancouver encore began with an acoustic ‘the way things go’ before ‘Beaches’ closed the available setlist. An additional unreleased selection has appeared during other stops on The Powerlines Tour, but Vancouver records do not establish one clearly enough to add it here. What is clear is that the final stretch continued balancing songs from different points of beabadoobee’s career rather than allowing the new album to erase what came before it.
The Rogers Arena performance arrived at an important transition for an artist whose Vancouver history has effectively followed her growth in real time. In 2019, she was an opening artist at Harbour Convention Centre. By 2022, she was headlining the Commodore. Pacific Coliseum followed in 2025, then Rogers Arena only a year and a half later. The production has expanded alongside that venue progression, but the strongest moment on Wednesday came from stripping much of that scale away for a few minutes and explaining why one song existed in the first place.
After beabadoobee Vancouver, The Powerlines Tour moved to Climate Pledge Arena in Seattle on October 29 to complete its 18 date North American leg. The production resumes November 14 in Glasgow for 13 concerts across the United Kingdom and Europe before continuing through Australia and Asia in 2027. The currently announced schedule runs through April 13 at SM Mall of Asia Arena in the Philippines, extending beabadoobee’s first arena tour well beyond the city where she revealed that one of its defining songs had been written.
Upcoming beabadoobee Tour Dates
United Kingdom and Europe
November 14: Glasgow, Scotland @ OVO Hydro
November 16: Cardiff, Wales @ Utilita Arena Cardiff
November 17: Manchester, England @ AO Arena
November 18: London, England @ The O2
November 23: Copenhagen, Denmark @ K.B. Hallen
November 24: Stockholm, Sweden @ Fryshuset Arenan
November 27: Oslo, Norway @ Oslo Spektrum
November 30: Paris, France @ Zénith Paris La Villette
December 2: Amsterdam, Netherlands @ AFAS Live
December 3: Amsterdam, Netherlands @ AFAS Live
December 4: Brussels, Belgium @ Forest National
December 6: Berlin, Germany @ Tempodrom
December 7: Düsseldorf, Germany @ Mitsubishi Electric Halle
Australia
March 15, 2027: Brisbane, Australia @ Brisbane Entertainment Centre
March 18, 2027: Melbourne, Australia @ Rod Laver Arena
March 20, 2027: Sydney, Australia @ Afterpay Arena
Asia
March 23, 2027: Seoul, South Korea @ Olympic Hall
March 26, 2027: Hong Kong @ TIDES
March 27, 2027: Hong Kong @ TIDES
March 30, 2027: Kuala Lumpur, Malaysia @ Zepp KL
April 2, 2027: Bangkok, Thailand @ UOB LIVE, EmSphere
April 4, 2027: Singapore @ Singapore Indoor Stadium
April 9, 2027: Tokyo, Japan @ Toyosu PIT
April 11, 2027: Kaohsiung, Taiwan @ Kaohsiung Music Center
April 13, 2027: Manila, Philippines @ SM Mall of Asia Arena
beabadoobee + Wisp Vancouver Photo Gallery
beabadoobee The Powerlines Tour Vancouver Concert FAQ
When did beabadoobee perform in Vancouver in 2026?
beabadoobee performed at Rogers Arena in Vancouver, BC on October 28, 2026 as part of The Powerlines Tour.
How many times has beabadoobee performed in Vancouver?
The Rogers Arena concert marked beabadoobee’s fourth Vancouver performance. Her local history began in October 2019 when she supported Clairo at Harbour Convention Centre.
When did beabadoobee last perform in Vancouver before Rogers Arena?
Her previous Vancouver concert took place on April 8, 2025 at Pacific Coliseum during The Space In Between Tour.
Who opened for beabadoobee in Vancouver?
Wisp, the musical project of Natalie Lu, opened The Powerlines Tour in Vancouver.
What unreleased song did Wisp perform in Vancouver?
Wisp performed the unreleased ‘Butterflies’ during her opening set. Fans stood with phone flashlights illuminated during the song.
Did beabadoobee write ‘Pylon’ in Vancouver?
Yes. During the October 28 concert, beabadoobee revealed that she wrote ‘Pylon’ in Vancouver while on an earlier tour.
What was beabadoobee’s Vancouver setlist?
The published Vancouver setlist contains 27 songs, beginning with ‘Sun Has Set’ and concluding with ‘Beaches’. An additional unreleased encore song has not been established clearly enough to include.
Where does The Powerlines Tour go after Vancouver?
After Vancouver, the North American leg moved to Seattle for its October 29 finale. The tour resumes in Glasgow on November 14 before continuing through Europe, Australia and Asia, with the currently announced schedule ending in Manila on April 13, 2027.