Photo by Laura Collins.
May 6, 2025
Bush, Rival Sons, and Filter at the Canadian Tire Centre – A Night of Greatness Deserving a Greater Crowd
It was an unusually still evening outside the Canadian Tire Centre in Ottawa. A soft breeze rustled through an eerily quiet parking lot as fans trickled in for Bush’s return to the capital on their *Loaded: The Greatest Hits Tour*.
For a lineup featuring three rock powerhouses—Filter, Rival Sons, and Bush—the subdued energy at the gates felt oddly prophetic. Inside the arena, the sea of empty seats told its own story.
See Also: Steel Panther at Mtelus, Montreal
Canada is going through a tough period, and while we won’t dive into the reasons or the slow pace of change—this is about music, not messy politics— it’s fair to say that many hearts across the nation are feeling the strain.
Filter
Photo by Laura Collins.
The evening kicked off with ’90s industrial rock outfit Filter, whose set was as moody as the lighting that bathed the stage. While the crowd was small, they were dedicated, swaying to the dark, grungy tones that defined an era. Frontman Richard Patrick, still every bit the unpredictable showman, tore into “Jurassitol” with wild-eyed fervor.
Mid-song, he leapt into the pit, swiped a fan’s phone, and took it onstage for a cameo before returning it—a stunt that got a laugh and a cheer before sliding into the alt-radio classic “Take a Picture.”
“Hey Man, Nice Shot” closed Filter’s set with appropriate bite, and Patrick took a moment to thank the crowd: “We just came to have a good time, and you gave it to us.” If gratitude could fill seats, he would’ve had a full house.
Rival Sons
Photo by Laura Collins.
Next up were Rival Sons, bringing blues-soaked rock and stylish swagger. Jay Buchanan, barefoot in a purple suit and sipping tea between songs like a psychedelic lounge singer, commanded the stage with soulful authority. His voice—smooth, powerful, and rich with emotion—carried the band’s performance, while lead guitarist Scott Holiday delivered dynamic solos with ease.
Bright, tasteful lighting painted a vivid backdrop as they played fan favorites like “Open My Eyes” and “Do Your Worst,” offering a masterclass in modern classic rock. Buchanan, observing the less-than-packed house, offered a somber reflection on the times—an industry-wide shift where fewer fans are showing up, even when the bands deliver. And deliver they did.
The low attendance wasn’t a reflection on the bands—far from it. But it was a reminder of something more existential. In an era of rising ticket prices, streaming convenience, and post-pandemic habits, many are wondering: what’s the future of live music? Will it ever roar like it once did, or are we settling into a quiet fade-out?
Bush
Photo by Laura Collins.
Then came the headliner: Bush. If there were any doubts that Gavin Rossdale and company could light a fire under this mellow Canadian crowd, they burned away the moment the band kicked into “Everything Zen.” That iconic riff reverberated through the arena like a defibrillator. “Machinehead” followed swiftly, a double-shot of 90s nostalgia that hit hard and right on target.
Rossdale remains a kinetic force of nature. During “Quicksand,” he writhed and rolled across the stage floor like a man half his age and twice as possessed. He spoke between songs with warmth and intention, discussing the challenges of picking a setlist that honors fan favorites while introducing new material. The crowd got a taste of the latter with “60 Ways to Forget People,” a heavy-hitter from Bush’s upcoming album *I Beat Loneliness*, due out this July. The track pulsed with the band’s signature riff-laden grit, suggesting this next chapter may be as strong as their first.
“Cables” saw the first timid appearance of cellphone flashlights—Ottawa’s idea of wild devotion, apparently. But during a haunting, stripped-down performance of “Swallowed,” Rossdale’s a cappella vocals echoed with ghostly emotion, finally coaxing the crowd into a moment of collective harmony.
And then came the showstopper: “Flowers on a Grave.” Rossdale did what only a frontman with genuine charisma dares—he left the stage entirely and ran through the crowd, not just touching hands but hugging fans, singing in their faces, creating a shared memory out of thin air. It was a moment of rock communion that should’ve lit up the place—but the audience still felt… polite.
By the time “Little Things” rolled around, Rossdale tried again to inject raw spirit into the room, leading a chant of “We don’t give a fuck!” with more conviction than the crowd could echo. The band was playing like they were in Madison Square Garden. Ottawa, however, seemed more like a Wednesday at Winners.
To be fair, the sound was flawless all night—a testament to the crew behind the scenes. Crisp vocals, punchy drums, searing guitar—every mix was tight and immersive. All three bands sounded exactly as they should: alive, loud, and dangerous.
But the lingering question was unavoidable: did they deserve this crowd? No. Not remotely. Ottawa’s audience felt like a mismatched puzzle piece—detached, disengaged, and hesitant to surrender to the power of live music.
And yet, Bush gave an encore.
Rossdale addressed the state of the world with a touch of idealism before launching into a cover of The Beatles’ “Come Together,” finally pulling the audience into a singalong worthy of a tour finale. He followed it with a solo performance of “Glycerine,” his voice cracked with emotion and weariness, before reuniting with the band for the closer: “Comedown.”
It was poetic. The set built up, burned brightly, and descended into a final chorus that encapsulated the whole evening—a masterful performance from a band that gave everything, even when the crowd gave only half.
Read More:
>> Steel Panther “On The Prowl” Review
>> Brit Floyd at Salle Wilfrid-Pelletier, Montreal
>> The Damn Truth at Mtelus, Montreal
In the end, Bush, Rival Sons, and Filter didn’t just play a show. They delivered a lesson in perseverance, passion, and professionalism. The music was loaded, the energy was there—only the audience was missing in action.
Ottawa, next time you get a lineup this good, show up like you mean it. Because nights like these still deserve to be legendary.
