Thursday, December 25, 2025
Brock's Only Independent Student Newspaper
One of the only worker-managed newspapers in Canada

A look at some of the upcoming shows at The Warehouse 

|
|

For the music lovers in the Niagara Region who are looking for something fun to do, here are some of the upcoming shows scheduled to take place at The Warehouse.  

Go Son on Nov. 22 

Scott Goss, better known as Go Son, is a Canadian singer, songwriter and producer from Virgil. Often described as a chill guy, Go Son’s sound has a lot of heart with lyrics that draw on the singer’s life experiences.  

Gossen is playing at The Warehouse on Nov. 22 at 8 p.m. Tickets start at $20. 

Virginia To Vegas on Nov. 27 

Virginia to Vegas, also known as Derik Baker, is an American-born Canadian known for his singing and songwriting skills. Best known for his indie-pop choruses and electronic melodies, Baker was signed to Wax Records after being discovered on YouTube.  

Baker is playing at The Warehouse on Nov. 27 at 7 p.m. Tickets start at $29.25. 

Feral Minks & Neon Cowboy on Nov. 28 

Feral Minks is a Canadian rock band known for their gritty authenticity and genre-defying sound. With “edgy guitar riffs, haunting synths and a rhythm section that demands attention,” the band produces music that feels both incredibly intimate and hugely anthemic.  

Playing alongside Feral Minks is Neon Cowboy, a five-piece ensemble known for their alternative rock sound. Joining forces in Niagara in 2021, Neon Cowboy started their music journey with the search for something bigger and louder.  

Feral Minks and Neon Cowboy are playing at The Warehouse on Nov. 28 at 8 p.m. Tickets start at $20. 

GRAE on Nov. 29 

Toronto-based singer/songwriter GRAE is making waves in the pop music sphere that are both “nostalgic and boundary-breaking.” Her music is described as both intimate and ambitious, making it the sort of music that can entertain a venue of thousands or a quiet bedroom hangout.  

GRAE is playing at The Warehouse on Nov. 29 at 7 p.m. Tickets start at $20. 

The Dears on Nov. 30  

First formed in 1995, The Dears are an indie-rock band from Montreal. Described as having an orchestral, dark pop sound, this band has released eight studio albums with a ninth record on the way.  

The Dears are playing at The Warehouse on Nov. 30 at 7 p.m. Tickets start at $33.34. 

Terra Lightfoot on Dec. 4 

Terra Lightfoot is a seasoned rocker with a “well-earned reputation as a tireless live performer.” Performing all over the world, Lightfoot calls Ontario’s Haliburton Highlands home, a theme which is explored in her newest album, Home Front

Terra Lightfoot is playing at The Warehouse on Dec. 4 at 8 p.m. Tickets start at $24.99. 

Cam Kahin on Dec. 6 

Toted as “an artist on the brink of something special” by the CBC, Cam Kahin is an alt-punk agitator with a loud, honest and enduring sound. Just 23 years old, Kahin grew up in Dunnville, a place where he felt like an outsider, with music being his safe place. 

Kahin is playing at The Warehouse on Dec. 6 at 8 p.m. Tickets start at $20. 

The Barrel Boys on Dec. 9 

The Barrel Boys are Canada’s favourite bluegrass band, known for their “enchanting melodies and heartwarming harmonies.” A blend of tradition and originality, The Barrel Boys grow soulful roots into the hearts of Canadians all over the country. 

The Barrel Boys are playing at The Warehouse on Dec. 9 at 7:30 p.m. Tickets start at $25.  

James Blonde on Dec. 13 

A powerhouse trio from Niagara Falls, James Blonde are known for blending rock, funk and synth-pop. Playing everywhere from Toronto to Vancouver, New York to Los Angeles, James Blonde is on a mission to get the world dancing one song at a time. 

James Blonde are playing at The Warehouse on Dec. 13 at 8 p.m. Tickets start at $20. 

For each act, tickets can be purchased using the corresponding Warehouse link. 

More by this author

RELATED ARTICLES

Guillermo del Toro’s “Frankenstein” fails to consider the nuances of Mary Shelley’s novel   

Released on Oct. 17, Guillermo del Toro’s adaptation of Mary Shelley’s 1818 novel Frankenstein was well received by critics and viewers alike — yet many fans of the classic novel walked away disappointed due to the numerous changes del Toro made to a story that many people love so dearly.

On screen drama to Broadway: Whitney Leavitt’s rise to fame 

Whitney Leavitt may not have been the Dancing with the Stars Mirrorball champion, but she won the jackpot when she was cast in Chicago on Broadway.  

Outkast: Hip hop’s greatest catalogue   

It’s hard to believe that an unusual rap duo from Atlanta, Georgia, made it this far in the first place, let alone became one of the most influential of all time.

The whole bloody affair: “Kill Bill” and movie theatres as “third places” 

Watching Kill Bill for the first time in a theatre felt like the right way to meet a movie that’s built intentionally around mood, sound and audience reaction. Kill Bill: The Whole Bloody Affair isn’t subtle. It’s style-forward, violent, funny in a dark way and constantly aware of itself as cinema.

Robert Irwin’s win on “Dancing with the Stars” is stirring up controversy online 

For most viewers, the Dancing with the Stars finale was a huge hit, but some fans believe that the end results were rigged. 

“Five Nights at Freddy’s 2” review: when moviegoing becomes a matter of expectations 

Score: 1.5/5  This article contains heavy spoilers for the Five Nights at Freddy’s 2 movie.  It’s my fault that I hated Five Nights at Freddy’s 2 so strongly.  All the signs were there. Critics were brutally honest about their distaste of the film, with the horror sequel amassing an abysmal 14 per cent score on Rotten Tomatoes. Fan reception wasn’t much better, with even the most diehard fans calling the movie “insulting.”

Annabelle Dinda’s “The Hand” blew up overnight, but the final production might be considered a flop 

After going viral, Annabelle Dinda has released her newest single, “The Hand,” to middling applause.

A sparkling sip of ‘70s sunshine: Supertramp’s “Breakfast in America” 

When Supertramp released Breakfast in America in 1979, they knew that they’d created something special, but few could have predicted the album’s enduring cultural presence. More than four decades later, Breakfast in America remains one of the greatest achievements of the late-’70s pop-rock, blending clever songwriting, pristine production and a distinctive tonal palette into a cohesive and joyful listening experience.