July 19th, 2026
Goldfinger’s enduring legacy
California ska punk royalty Goldfinger ended their tour last night with a stop in Montreal. The band ripped through their set like it was New Year’s Eve 1999, proving that time itself can’t hold them back. Their performance was nothing short of an avalanche run through all their classics and to my surprise, a handful of incredible covers.
Goldfinger is not only a band, but a monument from another era. An era which, if the rapturous roars of the night’s crowd are anything to go by, aren’t so bygone as it seems. The moment they began to play, I realized how dope they were. When did young Me stop listening to Goldfinger? When did I lose my way?
See Also: Triumph at Canadian Tire Centre, Ottawa
Like fine wine, it was time for me to blow the dust off a shamefully forgotten ska punk vintage and drink down it’s sweet contents. But before that, our apéro begins with something younger, more like a Beaujolais Nouveau. Let’s drink some General Chaos.
General Chaos
Of General Chaos, I certainly took more than a sip. In fact, I went way up front there, grabbed that General Chaos bottle by the neck and chugged it down. I’m not afraid of a little drinking, after all. I’ve a fair amount of experience in the area of booze and would feel comfortable, say, writing a song about it’s downsides or upsides. Because I started drinking at roughly the age of 16, over 2 decades ago. This, coincidentally, is the age of the General Chaos bottle I’m drinking.
On the palate, General Chaos challenges me to enjoy it, but for the wrong reasons. The overwhelming presence of the infamous, gritty grape known as the Rancid kind of feels out of place for a young, unblemished wine. Overall though, its talent and nascent potential are undeniable, if such words can be used to describe young fruit.
The idiots have taken over? I thought they were about to play a NOFX cover.
Their bio on Stomp Records talks of ”street level punch”, ”urgency” and ”political edge”, Green Day, Descendants, Propagandhi… my head is swimming: I was in the presence of the next punk rock Jesus and his merry apostles come to save Montreal.
Their latest album is a solid release entitled ”You can’t please ’em all”. I’m tempted to agree with them. Go pick it up. You’ll love it.
Sullvn
Sullvn is a solid music machine.
Lead singer Robert ”Sully” Sullivan has a voice that carries incredibly well and clearly; it’s the first thing that struck me. Such lungs that man has! He was backed by James East, the band’s musical director and bass player, whose played for Pattie Labelle, Lionel Ritchie and Toni Braxton just to name a few.
Musically, expect 3rd wave ska with soul and pop influences. While seeing them live, you feel close to the band, they bring you in. Even from a fair distance from the stage, the show feels incredibly alive. When it comes to their recorded material, it leans more heavily into pop and radio friendly production, an aspect of their music I personally appreciate less.
Let’s get it out right away, I can’t take it anymore. At a certain point, the singer decided to address the crowd, introducing the next song. Sully explained that their label had encouraged them to do a cover and that we’d be hearing that song in the moments to come. And then, without warning, Dicky Barrett, the singer of the Mighty Mighty Bosstones enters the stage and they break into ”The Impression That I Get”. The masses were dumfounded but quickly recovered from their stupor with rapturous adulation and cheers.
With Sullvn, it’s all Margaritaville, California sensations with soulful undercurrents that carry much of their work. With songs such as ”I think I’ll take up drinking again” and ”I wanna get high”, we have a good idea where the inspiration comes from.
Millington
You like emo, bud? Well, this next band’s for you.
Millington are a brass emo band from Albany, New York. It’s clear to me from the very beginning of their set, that the crowd is really digging this band. Arms are flailing, the crowd is wailing. I mean, people have visibly multiplied their interest in the music on stage following the 2 first bands. Millington’s brass section is an over-the-top gang of modern day pizzaiolo looking dudes just stomping across the stage, striking poses as they play.
They’re a tight band that successfully merges melodious, explosive ska brass to whiny, relationship ridden lyrical delivery, the staple calling card of emo. Every single song was either about ”a girl who went back to her hometown dude” or another topic that takes your feelings and heartaches and blows them out of proportion.
It was their first time in Montreal but it certainly won’t be their last.
Goldfinger
Red balloons begin floating popping up from nowhere. One, two, three…more and more. Who is giving birth to these instruments of merriment?
Suddenly, a surge of energy from the crowd. They cheer as the 7 piece band enters the stage. Led by front man John Feldmann, the current band line-up is composed of guitarists Charlie Paulson and Philip Sneed and Nick Gross on drums. Notably, Mike Herrera of MxPx is on bass and the brass section is composed of, I believe, Matt Appleton and John Christianson who are known as member’s of Reel Big Fish.
Right away, Goldinger plays ”Spokesman”, a catchy pop ska track off their 2002 album ”Open your eyes”. Not even skipping a step, the band flows into ”Get up, get up”, a venue shaking hit that has the crowd . The crowd’s ”Heys” and ”Wo-oohs” are so loud, it feels like the whole thing is rehearsed. All throughout this early set, John Feldmann is demonstrating his unstoppable stage energy. Eyes flaring open like the possessed vehicle of some cosmic, punk rock god, he stands over the room, his delivery as striking as ever. Following suit, the band contributed massive amounts of movement to the show, as well. They finish this first part of the show with singalong classic ”Counting the days” and new track ”FREAKING OUT A BIT” that features Blink 182’s Mark Hoppus on the album, as a collaborator.
After this, the Goldfinger avalanche really sets in.
Surprising covers and celebrations
Surprises, surprises and more surprises! The first bombshell comes in the form of a Cure cover, ”Just like heaven”, a dreamy new wave classic that the band seamlessly adapts to their brand of pop punk. Then, inviting as many crowd surfers as possible to storm the pit towards the stage, they start ”Tequila sunrise”. Sadly, not one body surfer was seen. A bit of a fail, but on the crowd’s part. However, this doesn’t stop them one iota. Proceeding to roll through yet more of their well known catalogue, songs like ”Eileen” and ”Open your eyes” are performed. The crowd’s power is still on 11.
Then, another surprise. And this one hits real close to my heart. Spastic riffs are being sliced as I slowly register what’s about to happen. A split second later, it’s clear to me that I’ll be singing NOFX’s ”Linoleum” at the top of my lungs for a couple of minutes. This cover injects gallons of adrenaline into the evening. The track, off the album ”Punk in drublic”, is peak NOFX. Collectively, we belt out the track in its entirety. The venue burns with a renewed intensity. If Feldmann is to be believed, Montreal’s crowd outperformed Toronto in the singing department. No surprise there.
Taking a small moment to address the crowd, Feldmann throws us an emotional curve ball. He invites all the children in the crowd on stage for the next song. It’s time for them to perform ”Mabel”, taken from their debut, self-titled album. Kids are jumping on stage as the band includes them in the performance, with high fives and dancing. It’s a beautiful moment! As if this wasn’t enough, the song ends and it’s time to celebrate drummer Nick’s 38th birthday! The crowd is invited to join in, as everyone sings a hearty rendition of Happy Birthday to the band’s beating heart.
Going out with a bang to finish the main set, it’s finally time for their most iconic song to be played. Famously featured on the original Tony Hawk’s pro skater video game, ”Superman” takes us soaring into the final section of the night. They follow it up with ”Question” and oddly enough, ”Song 2” by Blur, which the guitarist Snell sings. ”Miles away” is played next but what really acts as the cherry on top of this musical sundae is ”99 Red Balloons”, their well known cover of the monumental, international hit by German singer Nena.
Read More:
>> Angine de Poitrine at Minotaure, Gatineau
>> Journey at Bell Center, Montreal
>> Live at Place Bell, Laval
This show was spectacular. To see Goldfinger play indoors in a venue like Beanfield is an absolute treat and not something that occurs on a regular basis. In the coming days, I’ll be rekindling my love for their first album, which I owned at the age of 16 and was a pillar in my CD collection at the time.
Leaving the venue with Goldfinger’s ”Superman” lyrics being replayed in my mind, I definitely felt it’s rejuvenating effects wash over me. A spring in my step, I made my way home, happy that Spain had beaten Argentina in the World Cup finals.
