September 27, 2026
Mastodon, Deafheaven and Alcest bring the heaviness to Montreal’s Mtelus
Some tour packages smash you in the face like a pallet of bricks falling off of a high-rise construction site, and that is what was to be expected tonight from heavyweights Mastodon, Deafheaven and Alcest. And to supply you with the cliff notes version right off the bat here, that is exactly what they delivered.
While all three bands play different styles of metal, their differences meant a lot of variety should have been on the cards while still being an attractive roster to a certain long-haired demographic.
See Also: Blackberry Smoke at History, Ottawa
While France’s Alcest started off more of a black metal band before transitioning into a shoegaze sort of deal, Deafheaven showcase what Alcest might have merged into if they had kept more of their black metal aesthetic. Deafheaven consider themselves a black shoegaze outfit – but they really are what Alcest could have become. Then, of course, there’s Mastodon who have been making laps around the circuit for decades now. Trusty, dependable, progressive metal that ventures into the stoner realm, brings in some sludge and hard rock elements and sort of sit on that fine line between extreme music and mainstream hard rock.
Alcest
First to walk out on the stage at the Mtelus tonight, were Alcest, whom I was probably the most excited to see. The last show of theirs that I caught was back in March of 2025 when they played a fantastic headlining set at the Beanfield theatre. Having seen them a multitude of tunes, I still consider that night to be the best live performance I have witnessed from Alcest – and that includes tonight’s set.
This evening, while great, didn’t really feel like Alcest were really into it. They played a five-track set but there was a lack of enthusiasm that didn’t match the atmosphere and ambiance from that Beanfield show that I mentioned. Maybe that had something to do with them being perched so close to the edge of the stage tonight, while Deafheaven’s and Mastodon’s gear sat right behind them. At the Beanfield, the stage was barren. Almost bare. Whatever the case, they were good but not great.
Opening with Protection was a solid choice. At this stage, I would assume everyone in the room already knew who they were – or at least I would hope so. Montreal naturally generally has a love affair with bands from France, and those artists are well received here. Alcest is no exception to that rule.
Next, a personal favorite track of mine, Sapphire hit the air waves and to me, was the highlight of their short set. Écailles De Lune part two followe dthat, another track that I really love and one that shows off a bit of the bands heavier side, which I suppose was important on a bill such as this one here tonight. Eclosion and Kodama capped off their portion of the show.
Deafheaven
Somehow, I have gone this long without ever seeing Deafheaven live – so I was rather looking forward to righting that wrong tonight. Instantly, I was glad to have done so. Opening with an instrumental track, Incidental I, that lead into Doberman, was a quickfire way to announce themselves onto the stage. Instant energy poured from them, especially vocalist George Clark, who smashed his way into their set, jumping about like a man that had just smashed a couple of cans of Monster energy backstage and was primed to deliver a show tonight. As he did so, he urged the audience to follow suit, telling everyone to get up off their feet and jump around (not quite like the way House Of Pain did it back in the day but along those same lines).
Clark’s energy was contagious – and the crowd responded to his request, expelling pent up rage combusted into energy as the band went about their business. Still audibly akin to Alcest, with a much harsher vocal styling, I was completely into it. Deafheaven are great on studio records, but live, they’re so much better. Unfortunately, the head of house seemed determined to give everybody epileptic fits with some of the lousiest stage lighting imaginable, but you can’t win them all I guess.
Next came Magnolia, rife with all the energetic chaos that you might imagine such a track with exfoliate. Beautifully bleak ad nasty. Melodic enough to touch the soul, and vicious enough to make you want to rip the hearts out of those in closest proximity to you. I was enjoying the shit of Deafheaven while cursing myself for not having seen them earlier. Lesson learned. Believe you me.
Incidental II was next, kicking in with a bit of feedback before pulsating into full form. The ending to this track is outright oppressive. Nasty. Beautiful. The perfect roll in for Revelator, which burst from the speakers of the Mtelus with haste and aggression. Deafheaven really are a fantastic flippin’ band and the best was yet to come.
Capping off a five-track setlist (eight if you count the three Incidental pieces) was Dreamhouse, Incidental III which lead into their final number, Winona.
The inclusion of the three Incidental pieces, really creates an ambiance like no other. An existential feeling of dread, before the violence of their tracks kicks your teeth down your throat. Almost cinematic, not unlike the videos that the band made to accompany these tracks. Deafheaven are something to be treasured and I already want to see them live again.
Mastodon
The band of the hour, Mastodon were last to take the stage and they did so to the raucous applause of the Montreal faithful, that come out in numbers on a Sunday night to support the band.
Already warmed up, pumped and primed to let loose for what seemed like quite a lengthy Mastodon set, Montreal did what we always do. Serenade those that have traveled from far and wide to perform for us in a way nobody else can. This truly is a special place to see live music. Tonight, Mastodon felt the love of la belle province.
From above the soundboard and light console, sat a projector that shot lasers out across the room. Beams of color and mysticism. And behind the band, played an animation that I hope was not created by fucking artificial intelligence, that was akin to an acid or mushroom trip without having imbibed in such substances. You could say I have a real fucking problem with AI, and while I hope none of that filth was used here, Mastodon being artists themselves and all, the projections and showings played on the screen behind them was pretty spectacular.
Mastodon began their set with Barbarian’s Blood off their most recent record, Marrow’s Deep. It’s always a gusty move to begin with a newer song, but tonight that seemed to have no consequence. That was followed up with something more familiar – a great rendition of March Of The Fire Ants, instantly throwing fans from the new record, back two decades to the Remission record, and the crowd was already fully immerged. Hook. Line. Sinker.
Next, came a barrage of great choice cuts; Crystal Skull, Black Tongue and the mighty, the massive Megalodon. That was followed up by In The Ruins and Your Ghost Again. Mastodon were already on fire, knocking out bangers even before having hit the halfway mark of their set.
At one point, Mastodon spoke about their lengthy relationship with Montreal in a touching segment that also listed all the shows the band has played in this city over the decades, and in surprising pinpoint accuracy to the venues and whom they had shared the stage with. Although Troy Sanders did refer to the Foufounes Électriques, a legendary local show bar that is something of Montreal’s answer to the legendary CBGB’s as Foufous, which I personally thought was hilarious and delightfully amusing, but we can let that slide just this once.
I was surprised and a little dismayed that they was no mention of the late Brett Hinds who tragically passed away in August of 2025 due to a road accident involving his Harley Davidson and an SUV. While Hinds was no longer a member of Mastodon at the time, and they was rumored to have been some bad blood during his split from the band, he remains an integral part of the bands success. A little nod to the man, regardless or whatever had transpired between them all, would have added a touch more class. Just my opinion.
This new look Mastodon, as it were, is something of a beast. Newcomer Nick Johnston is no slouch on the guitar, and even without keyboardist João Nogueira who seems to have had issues at the Canada-America boarder, which has caused musicians nothing but a pain in the ass since touring musicians have been a thing, Mastodon delivered quality.
More Than I Could Chew was a particularly interesting moment on the night. This is the firs time I have seen Mastodon without Hinds, and I was intrigued to see how Johnston would handle the immense solo that this track contains. Answer – wonderfully. The brilliant Mother Puncher was next, followed by Steambreather, as we reached the midway portion of this lengthy set. Mastodon were in peek form.
Next, was a new track named Poisonous Weapons and suddenly I found myself growing tired. Not because of the band; maybe the lighting, and certainly it being late on a Sunday of a chaotic weekend was taking its toll. Still, this was a great track. Obviously my first time seeing it live, as well.
Another monstrous grouping of tracks filled the atmosphere, as Mastodon churned out great versions of Snakes For Dinner, Curl Of The Burl, Oblivion, The Czar and Sultan’s Curse. I fought the yawns, determined to catch the end of the show that was almost upon us.
Two final numbers remained; Colony Of Birchmen and ending with the formidable Blood & Thunder. I was spent. The night was done and I hoped I wouldn’t fall asleep on the train ride home. (I didn’t! Thanks for asking!)
Read More:
>> AC/DC at Parc Jean Drapeau, Montreal
>> Rush at Bell Center, Montreal
>> Dimmu Borgir at MTelus, Montreal
I left the Mtelus sort of annoyed – the bands, the musical portion anyway, had been great. Thoroughly solid, technical and tight musicianship. Yet I felt cheated. I want to fully appreciate a bands set, and that means being able to see what they’re playing. What they’re doing with their instruments and such. But all three bands chose to play in utter bullshit lighting conditions. I get it, you want to be edgy. But three straight sets filled with strobe lights is annoying beyond words. When did this become a thing and when can we move on passed it and get back to properly lit stages again?
It might seem trivial but that sort of shit really annoys me. Be interesting. This is a day and age where everything is overpriced and everyone is broke. Going to a show costs a lot now, and if you’re going to give shadows and silhouettes, I’m going to strongly consider staying home, sitting on my couch with a few beers that with cost less than one at these venues, and spinning records in the darkness of my home. What’s the difference anyway? Still can’t see shit.
