Three Days Grace are currently on the road supporting Alienation, the first album to feature both longtime frontman Adam Gontier and his successor Matt Walst sharing vocal duties on record. The dual-vocalist format is the central storyline of this tour and a full-circle celebration of the band’s catalog. Rounding out the bill were two strong openers, The Funeral Portrait and I Prevail, each bringing a distinct energy to the night.
The Funeral Portrait opened promptly to Frank Sinatra’s “Bang Bang,” with frontman Lee Jennings delivering a brief a cappella take on Tears for Fears’ “Mad World” before launching into “Generation Psycho.” After years of club dates and steady touring, including high-profile runs and a stadium tour with Five Finger Death Punch, the band looked fully at home on an arena stage. Jennings’ signature green mullet and constant movement kept the crowd engaged throughout “Holy Water” and “Stay Weird.” They closed with “Dark Thoughts” and “Suffocate City,” the song that significantly expanded their audience. A notable moment came when Jennings tore up the setlist to share with fans and spent much of the evening interacting around the venue, an uncommon move at an arena show.
I Prevail took the stage to Gorillaz’s “Clint Eastwood” and immediately raised the intensity with “NWO,” “Bow Down,” and “Self-Destruction.” Indoors, their production hit harder, layered with strobes, metallic visuals, and controlled bursts of flame. Vocalist Eric Vanlerberghe and guitarist Dylan Bowman kept the mood loose between songs, trading jokes with each other and the crowd. A word-association bit transitioned into “Violent Nature,” and the set leaned heavily on newer material including “Rain,” “Into Hell,” and the crushing “God,” punctuated by a drum feature. They wrapped with the sing-along “Hurricane” and the hard-hitting “Gasoline,” leaving little doubt about their command of the room.
Three Days Grace opened with “Dominate,” setting the tone for a 24-song set that touched nearly every era of the band’s history. Early performances of “Animal I Have Become,” “Break,” “Home,” and “The Mountain” kept the energy high, while “Don’t Wanna Go Home Tonight” spotlighted the new record. Midway through, the stage shifted into a campfire-style acoustic setup for “Get Out Alive,” the tour debut of “Chalk Outline,” and “Porn Star Dancing,” a nod to Walst’s time in My Darkest Days, followed by “Lifetime.” The stripped-down segment offered a breather without sacrificing momentum.
The final stretch brought the crowd fully to its feet with “I Am Machine,” “Just Like You,” and the new single “Mayday,” before sing-along staples “The Good Life” and “Painkiller” closed the main set. An encore of “Never Too Late” and “Riot” ended the night on a definitive high.
At one point, Gontier even addressed his 2013 departure with humor, acknowledging the crowd’s reaction before moving forward. What could have been a complicated reunion instead feels seamless. The two vocalists trade leads and visibly support one another throughout the show. It is a rare second act for a band at this level, and one that feels fully earned.
