July 24, 2026
Trooper Brings Canadian Classic Rock Nostalgia to a Full Hard Rock Hotel & Casino in Ottawa
Few Canadian rock bands have maintained the staying power of Trooper. Formed in Vancouver in 1975, the group has spent more than five decades soundtracking road trips, cottage weekends, hockey arenas, and countless summer festivals with a catalogue that has become part of Canada’s musical identity.
While founding vocalist Ra McGuire and guitarist Brian Smith both retired from touring a few years ago, Trooper continues to carry the torch with Paul Laine who jumped on board the frontman duties in 2024, alongside long-time bassist Scott Brown and Paul Gogo on keyboard, guitar tech turned guitarist Steve Crane, and Clayton Hill on the drums.
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Friday night’s stop at Ottawa’s Hard Rock Hotel & Casino drew a full crowd, with even the parking lot filled well before showtime. The seated venue created a different atmosphere than the standing-room rock shows many fans are accustomed to, lending the evening a relaxed, almost lounge-like feel.
At times, the atmosphere leaned more toward lighthearted entertainment than a full-throttle rock concert, though the audience’s affection for the band never seemed to waver.
Laine proved to be an engaging frontman, mixing humour between songs as comfortably as he handled Trooper’s beloved catalogue. Before launching into “Thin White Line,” he playfully explained the song’s subject matter, joking that it’s really about friendship… and cocaine. He laughed about testing audiences across Canada to see how they react to the introduction, noting that crowds in British Columbia tend to lose their minds while Saskatchewan audiences often stare back in confusion, wondering what all the fuss is about. Later, with equally self-deprecating humour, he encouraged the audience to scream because, as he joked, his childhood clearly didn’t provide enough attention.
Musically, the band was tight throughout the evening. Crane’s guitar work remained sharp and melodic, and Brown and Crane frequently exchanged smiles and playful interactions that showed just how much fun they were having on stage together. Gogo was impossible to ignore behind the keyboards, his animated performance adding visual energy even during quieter moments.
A stripped-down acoustic rendition of “The Moment That It Takes/Two for the Show” became one of the evening’s most memorable moments. Laine reflected on growing up in an era when hearing your favourite song meant patiently waiting beside the radio rather than pulling out a phone.
As the crowd enthusiastically sang much of the chorus back to the stage, the nostalgic performance earned one of the night’s biggest standing ovations.
Of course, Trooper’s biggest hits delivered exactly what fans came to hear. “We’re Here for a Good Time (Not A Long Time)” finally coaxed many audience members to their feet, filling the aisles with dancing fans who spent much of the evening seated. “Raise a Little Hell” generated another surge of excitement, proving these songs have lost none of their ability to bring generations together.
Instrumental showcases added another entertaining layer to the performance. Hill unleashed a playful drum solo complete with unexpected animal sound effects before Brown answered with a bass feature of his own. The two eventually merged into a combined drum-and-bass jam before the rest of the band returned to finish the set.
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The set also featured a pair of classic rock covers that fit naturally alongside Trooper’s own material. Thin Lizzy’s “The Boys Are Back in Town” was an obvious crowd-pleaser, while the encore included a spirited take on The Doobie Brothers’ “Listen to the Music.” The night fittingly closed with a reprise of “We’re Here for a Good Time,” sending fans home with one final reminder of the band’s enduring philosophy.
Although the overall energy never quite reached the explosive heights one might expect from a legendary Canadian rock act, Trooper still delivered an evening filled with nostalgia, humour, musicianship, and timeless singalongs. For a band celebrating more than 50 years on Canadian stages, that’s still more than enough reason to raise a little hell.
