Alienation Tour 2026 did not just stop in Hamilton on May 3, it shook the foundation of the TD Coliseum.
Royal Tusk, Finger Eleven, and Three Days Grace tore through the arena with the kind of force that reminds you how fulfilling and therapeutic rock shows are, and why they still matter. This was not a casual night out, it was loud, sweaty, emotional, and unapologetically massive.
For me, the anticipation had been building for months. I had not seen Royal Tusk or Finger Eleven live before, and the last time I caught Three Days Grace was back in 2005, opening for Evanescence in Montreal. They have been a staple in my rotation ever since, so this show carried weight, nostalgia, and memories before a single note was played.
The night also came with a personal milestone, a VIP meet and greet, a behind-the-scenes look at the stage, and a one-on-one with Adam Gontier himself. Add to that a stage-played guitar used during Painkiller, tied to a charitable cause supporting musicians. I have not had the opportunity to meet many musicians in my life, so this was an impactful event, and it became more than a concert, it became an unforgettable memory.
Adam, for the record, is exactly the kind of person you hope he is. Grounded, easygoing, and unexpectedly funny. He initially walked in with a donut, clocked me instantly, and said, “You seem like a sprinkles kind of guy.” In truth, I hate donuts, but I ate that donut like it was the best dessert I ever had.
As a photographer, this show was a gift. Arena lighting can be brutal: blinding strobes, deep washes of blue and red, silhouettes that swallow detail. This time, it all clicked. Clean tracking spotlights locked onto performers, and a massive LED wall elevated the entire visual experience. It was one of those rare setups where you are not fighting the light, but working with it.
Royal Tusk kicked things off with a tight, no-nonsense set that leaned into groove over flash. Dressed in white and moving with purpose, they delivered thick, blues-tinged riffs wrapped in modern alternative grit. Their chemistry was immediate, they locked into rhythms that felt lived-in, trading space on the catwalk and pulling the crowd into a steady, head-nodding pulse that built momentum fast. Their back-to-back guitar strumming and duets sharing a microphone added to a wholesome experience between friends, not just bandmates.
Finger Eleven followed with a bigger, more anthemic punch. Their set balanced polish and weight, jumping between staples like Slow Chemical and One Thing and newer material like The Mountain and Last Night on Earth. Scott Anderson carried himself with a mix of humility and command, clearly feeding off the crowd’s engagement. Scott’s smiles between vocals, as the crowd shouted back in respect, demonstrated true fan appreciation. Meanwhile, Rick Jackett and James Black turned the stage into their playground, spinning, shifting, and attacking each track with a precision that made it look effortless, commanding their instruments like flashes of lightning.
Then came the headliners.
Three Days Grace delivered exactly what you want from a band with their catalogue: power, emotion, and a connection that hits somewhere deeper than surface-level hype. For long-time fans, nostalgia, tears, and memories of the past came flooding back with each note. Adam Gontier and Matt Walst shared vocals with a chemistry that felt natural rather than forced, bouncing lines off each other while Neil Sanderson, Barry Stock, and Brad Walst built a wall of sound behind them. Rarely do two frontmen share the spotlight equally without ego. Adam and Matt proved that loud and clear, they are both lead vocalists.
I Hate Everything About You, Just Like You, and Animal I Have Become turned the floor into a living organism. The crowd did not just sing along, they roared every word back with a kind of cathartic intensity that felt closer to release than entertainment. The mosh pit was aggressive, but respectful, unlike some other rock shows I have been to.
The band gave their own tribute to nostalgia, playing their newest radio single Don’t Wanna Go Home Tonight, a song about reminiscing about good times with friends and family, in a time with less weight and responsibility. Cale Gontier, Adam’s cousin and the bassist of Saint Asonia, joined the band on stage for the song.
Mid-set, the band stripped things down for an acoustic campfire segment that shifted the entire mood. The band played four songs, semi-circled around a campfire, with their large video screen displaying a starry night. Lost In You and Lifetime hit with a quiet weight, dedicated to those carrying love and loss. Phone lights and lighters filled the arena, and for a few minutes, the chaos gave way to something tender, almost fragile.
A quick nod to Three Doors Down with Here Without You bridged the emotional gap before the band slammed back into high gear. I Am Machine, Painkiller, and Mayday reignited the pit, pushing the energy right back to its peak. Being able to photograph Adam playing my future guitar is difficult to put into words.
The next generation of Three Days Grace also made an appearance, a wholesome joke they cracked, as two of the band members’ sons replaced their fathers to perform a song and display their talent.
They closed with Never Too Late and Riot, a one-two punch that perfectly captured the duality of their music. Reflection followed by pure chaos, emotion followed by release. The final moments were loud, messy, and exactly right.
Hamilton showed up and gave everything back.
For a first visit, the TD Coliseum delivered in a big way, and this tour stop proved something simple. When bands like these are firing on all cylinders, rock is not just alive, it is thriving.
Review & photos – Mike Cerantola
