Triumph at Starlight Theatre, Kansas City MO (2026-05-16)

Consider the “Rock & Roll Machine” fully reloaded!

For the first time since October 1986, legendary Canadian rockers Triumph returned to Kansas City on their 50^th Anniversary Tour, to hold off the rain and play for the faithful and many new generation fans, outdoors at Starlight Theatre.

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The evening got underway with a ten-song, forty-minute set from another longtime Canadian band, April Wine, who had their generous share of radio airplay as well, during their back-in-the-day classic years.

Formed in Nova Scotia way back in 1969, their bluesy hard-rock style warmed up the crowd without overshadowing the headliners with hits like “I Like to Rock”, “Enough Is Enough”, the hit ballad “Just Between You and Me”, the mysterious “Sign of the Gypsy Queen” and the timeless rocking, “Roller” which ended their set with force.

The 11-time Juno Award nominees and Canadian Music Hall of Fame inductees can still bring the hits with focus and a punch courtesy of longtime guitarist (since 1977) Brian Greenway blazing the trail and vocalist/guitarist Marc Parent (since 2022, ex-Eight Seconds) leading the charge, through this band’s five+ decades of music history.

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As mentioned, Triumph hadn’t played Kansas City since a crisp fall night at Kemper Arena, four decades ago (with none other than Yngwie J. Malmsteen opening), so to say the local faithful (and so many we spoke with who had traveled in from across the county) were ready for this, is the understatement of the year.

Spurred on to mount a 50^th Anniversary Tour following a jubilant three-song set in June of last year during the Stanley Cup Finals (their first public performance in more than 17 years!) the show and tour seems equal parts reunion, celebration, fan appreciation, and revisiting an impressive song catalog that still hits their mark, when played live.

This version of the band has expanded beyond the classic trio lineup- original members Rik Emmett and Gil Moore were joined by guitarist Phil X (of Bon Jovi fame, and who originally replaced Emmett when he left in 1988), bassist Todd Kerns, and drummer/keyboardist Brent Fitz (both of whom play with Slash) help reinforce and fill out a larger sound. Original bassist Mike Levine was unfortunately absent, due to ongoing health issues (no tour appearances yet, but we hope he can rebound soon).

The show felt less like attending a nostalgia tour and more like entering a time capsule from the golden age of arena-sized, full-on muscle rock. Large lighting trusses framed the stage, stacks of amps glowed in blues and crimsons, and a large video backdrop showed landscapes, spacescapes, montages of the band’s earlier years, street scenes, flying guitars, and more.

An intro video retrospective (set to 1984’s “Time Canon”) led into the opening (and most appropriate) “When the Lights Go Down” which was followed by the band’s biggest commercial hit, 1986’s “Somebody’s Out There.” The positive power of hit “Hold On” brought the crowd’s cellphones in the air to capture the moment, and a mighty and extended “Allied Forces” (complete with all guitarists playing Flying V’s in synchronicity) was an early set highlight.

While Emmett’s voice may have lessened in range and duration (not to worry- the crowd became a choir to take over the choruses several times), his guitar playing remains as astonishing to watch as it was four decades ago, with fluid and melodic solos and technically sharp solos, without any need to be grandstanding.

Drummer Moore’s original reputation for groundbreaking live production design clearly still matters, as evidenced by the screen visuals (including a digital version of the band’s name in bright lights), lighting effects and sparking pyro bursts, and was a remembrance of some of the excess and rock grandeur of an earlier time.

Emmett addressed the audience here and there, to thank the fans for their five decades of loyalty and being able to live the life they had led; and maybe most importantly, helping keep the songs alive for so long- a sentiment that felt sincere and grateful, rather than just canned repartee between numbers.

The main set would end with 1981’s huge hit “Magic Power” played with a solo introduction by Emmett and then the whole band joining, to finish things with flair. Seeing drummer Moore leave his kit several times to incite the crowd up front was unusual (as a trio, he mostly stayed behind his drums), and the only sound hiccup came towards the end when Emmett’s own signature white Godin Montreal Premiere guitar seemed to sound distorted or had an issue with its wireless transmitter.

The natural chemistry between the performers, particularly Emmett and Phil X (we’ve never seen a guitarist and his ‘replacement’, play and get along so well on stage together!) seemed to ripple with joy out onto the audience, with the crowd’s enthusiasm reflecting back to the performers, to overcome any audio shortcomings.

“Fight the Good Fight” closed the show in spectacular fashion with cascading lights, thunderous percussion, and a final shower of vertical pyro sparks. As the band gathered center stage for the evening-ending bows, the applause felt beyond just appreciation for a concert and more like gratitude for perhaps one last chance to see this legendary act together again.

Triumph embraced their deserved legacy with perhaps one last area rock event- their technical musicianship performed with some nostalgic bombast and spectacle, delivered with larger-than-life power, honesty, and musical joy. That’s what this Rock & Roll Machine- Reloaded, is all about.

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​APRIL WINE​​​

National / International act coming through the Midwest / Kansas City area? Please email details to johnc@weheartmusic.com with a good lead time to be considered for Show Preview and Show Coverage consideration.