Our Lady Peace: 30th Anniversary Tour W Special Guest The Verve Pipe presale codes

The band came up in Toronto in the mid 90s, mixing crunchy guitars with a high, urgent vocal and thoughtful lyrics.

Thirty years, still curious

Thirty years on, the focus is the milestone itself and how the sound has sharpened through lineup shifts, with Steve Mazur and Jason Pierce steering the post-Turner and post-Taggart years.

Hits with a heartbeat

Expect a set built around the songs that wrote their story, likely including Clumsy, Superman's Dead, Somewhere Out There, and Starseed. The room skews multigenerational, with radio kids from the 90s beside newer fans who found them through streaming and the Spiritual Machines revival. Trivia heads will note that futurist Ray Kurzweil voiced interludes on Spiritual Machines, and that Mazur arrived after an open online audition in 2002. The vibe is friendly and focused, more shared harmonies than shove, with plenty of voices ready for those soaring hooks. Note: details about songs and staging here are informed guesses based on recent tours and may change on the night.

The Our Lady Peace Crowd, In Real Life

The scene feels like a reunion of college radio kids and new guitar fans, a mix of flannels, simple tees, and a few vintage MuchMusic caps.

Vintage vibe, present tense

Inside, you see retro Clumsy and Naveed cover art on shirts, plus hockey style jerseys that nod to the hometown roots.

Shared memories, gentle volume

People swap Edgefest memories and trade setlist hopes without trying to one up each other, which keeps the room relaxed. The big singalong moments are the choruses to Clumsy, Somewhere Out There, and Superman's Dead, often with a hands up sway rather than a shove. Between songs, the banter tends to be short and wry, and fans answer back with quick, good natured chants on cue. Merch tables lean toward clean designs and vinyl reissues, and you spot a few parents pointing out tracks to kids who found the band on playlists. Walking out, you hear soft humming of melodies rather than hoarse shouting, which tells you the hooks stuck.

How Our Lady Peace Makes the Noise Breathe

The voice sits high and clear, flipping into falsetto for color and then back to a gritty midrange to carry the verses.

Hooks first, power second

Guitars favor tight, palm muted figures that open into chiming lines, while bass threads simple melodies under the choruses.

Little studio tricks, done live

Live, tempos push a bit faster, which makes older singles feel lean and keeps the energy up without losing control. There is a habit of dropping the band to near silence before the chorus so the lift lands bigger, most clearly on Somewhere Out There. A neat detail is that Steve Mazur often uses drop D and an EBow to shape the bowed, sustained lead in Thief, adding a string like color without tracks. Drums hold tight kick patterns and save the big tom rolls for section changes, which helps the hooks breathe. Visuals stay clean and moody, with cool whites and deep blues framing the players rather than stealing attention.

Kindred Circles for Our Lady Peace

If you ride for layered 90s alt with strong choruses, The Verve Pipe fits with melancholy storytelling and a tight, guitar-forward band.

Neighboring sounds, same spine

Fans who like dynamic loud soft shifts and muscular riffs often cross over with Bush, whose live show carries similar weight.

Hooks and heart

The tuneful crunch and steady optimism of Collective Soul suits this crowd, especially when the harmonies bloom. North of the border, Matthew Good appeals to listeners who want literate lyrics over big, ringing guitars. All four acts keep things melodic but punchy, and they lean on radio era hooks that still land in big rooms. If you like a reflective frontman who actually talks between songs, these bills tend to scratch that itch.