The 2hollis show at MTELUS in Montreal drew a crowd primed for chaos, and the artist delivered a performance that balanced hyper-pop spectacle with genuine emotional moments.
When the bleach-blond performer took the stage, the venue erupted. Tall and striking under strobe lights, he cut a commanding figure—part alien idol, part awkward art-kid—performing against a backdrop featuring a giant white tiger prop that was simultaneously ridiculous and majestic. The aesthetic was minimal yet theatrical, self-aware and slightly absurd.
The crowd transformed the floor into a mosh pit from the opening moments, with attendees shoving, filming, and screaming along with fervent energy. The intensity reached a point where 2hollis had to pause mid-show to ask the audience to step back for safety reasons. While the request didn’t entirely calm the chaos, it demonstrated a genuine concern for fan welfare.
The setlist leaned heavily on synthetic, cinematic production. Auto-tuned vocals shimmered over trap-inspired beats, with tracks like “poster boy” and “sidekick” delivering heavy bass and high-energy moments that reverberated through the balcony. However, the performance also featured quieter interludes that revealed depth beyond the digital production. During “cliché,” some audience members slow-danced in the pit, creating an unexpectedly tender moment. The stripped-down acoustic rendition of “eldest child,” performed with just guitar and unprocessed vocals, proved there was substance beneath the heavily produced sound.
The encore turned into a ritual of repetition when the crowd’s persistent chanting for “jeans” led 2hollis to perform the song five times in succession. The audience showed no signs of fatigue, embracing the repetitive nature of the moment as part of the communal experience.
Opener Nate Sibb warmed up the crowd with a set that blurred pop and rap, delivering sticky melodies that set the tone for the evening. The two artists appeared to share not just a fan base but a creative sensibility that felt collaborative rather than competitive.
Photos – Nic Cantin
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