No Classic Rocker in their right mind would have had “Triumph Reunion Tour” on their musical Bingo card in 2025. After all, the group was long disbanded. And the last time the Canadian power trio had planted the Maple Leaf flag on these shores was more than three decades ago—and closer to four with the original lineup.
But there it was. The announcement that the original/classic lineup of Rik Emmett (vocals/guitar), Gil Moore (drums/vocals), and Mike Levine (bass) would come together for a 50th anniversary tour of Canada and the U.S. It was later revealed that the lineup would be augmented by Phil X (guitar/vocals), Todd Kerns (bass/vocals), and Brent Fitz (drums/keyboards).
That would quite understandably alleviate some of the lifting for the original now-septuagenarian trio, with the added bonus that Phil X actually replaced Emmett in Triumph when the latter left in 1986. And for this tour, I had already interviewed Emmett for The Houston Press.
Health issues have since sidelined Levine, but the remaining quintet put on a powerful, forceful, and restorative show. One festooned with nostalgic memories, power choruses, and majestic songs about…well…the majesty of rock and roll itself.
Triumph kicked off “The Rock and Roll Machine Reloaded” tour with, appropriately, the ode to the start of concerts, “When the Lights Go Down.” That segued into the more pop leaning “Somebody’s Out There” and then deep cut favorite “Spellbound.” The last normally sung by Moore, but here from Kerns, who possesses an impressive voice.
It would not be the last of Moore’s tunes ceded to Kerns or Phil X for vocals. And while time has understandably shaved a bit off Moore and Emmett’s higher-piercing ranges, both men reserved their powers for when it counted.
In terms of playing, Emmett’s fast fingers have lost none of their steam with his solos on a variety of guitars (including–yes—the Flying V of Triumph lore). His fret work on “Rock & Roll Machine” was especially inspiring.
The near-capacity crowd at the Smart Financial Centre, most aged in their late 50s, 60s, and 70s, came as close as possible to recreating an old-fashioned Summit rock show from the ‘70s/’80s in look (plenty of black T-shirts from scores of bands) and readiness to party.
There was a lot of “I saw them in 1981” or “I had Allied Forces on cassette” chatter. This show also had perhaps the longest lines for the merch tables I’ve seen in recent memories, wrapping all through and around the Smart Centre lobby (kudos to both bands for selling those ‘70s/’80s-style colored long sleeve T’s).
My brother Jamie, a former box office manager at the late, great rock venue Rockefeller’s, ran into plenty of former customers and neighbors, some he hadn’t seen in decades. And he clearly enjoyed this show probably more than any of the scores we’ve attended together if gauged only by his fist pumping, head banging, and screaming (his neck is probably sore this morning, as is mine).
Another great highlight was “Allied Forces” with Phil X on vocals. One of the most powerful songs in their entire discography, it is also a rock song about rock lore and following your dreams despite all odds (see “Never Surrender” and show highlight “Magic Power”). That latter one also elicited the biggest audience sing along with the refrain “I’m young, I’m wild, and I’m free/Got the magic power of the music in me.”
And while audience members were likely none of those three things (at least in 2026), you could see the year’s melting away from faces during the song.
If there were weak spots, “Blinding Light Show” has not aged as well with its epic Spinal Tap-py pretentions. And a long, way too long cover of Joe Walsh’s “Rocky Mountain Way” (for some reason a minor hit single for Triumph back in the day) was truly the only yawn-inducing time of the evening.
Audience interaction was minimal, save for a heartfelt monologue from Emmett in which he admitted that a year ago, he didn’t even know if he wanted to do the tour or was capable of it. But ultimately, he said he got his “fat ass” off the couch, lost weight with a trainer that his wife got him (he said they will celebrate their own 50th anniversary this year) and got amazing symbiotic energy from the very appreciative crowds so far.
The stage-spanning digital backdrop proved almost an additional band member, showcasing a wild variety of graphics, animation, and old photos and video footage of the band through the show. It augmented the music rather than distracted.
Triumph wrapped up with another anthem of resilience, “Fight the Good Fight.” It brought a buoyant and joyous end to an unforgettable show, and a likely close to a cherished band’s final trip around the Americas.
Fellow Canadian rockers April Wine opened, and the quartet far exceeded expectations. Though there are no original members left, guitarist/vocalist Brian Greenway has been on board since 1977, and lead vocalist/guitarist Marc Parent proved a commanding frontman. Bassist Richard Lanthier and drummer Marc Nichol filled out the lineup.
Opening with the strong “I Like to Rock,” April Wine’s catalog is lesser known, but “Enough is Enough” and the Greenway-sung “Before the Dawn stood out. They ended with a triple punch of power ballad “Just Between You and Me” (which brought a shine of recognition on many faces as in “I know that song!”), “Sign of the Gypsy Queen” and the balls-out “Roller.” Unfortunately, they left out my favorite tune—“You Could Have Been a Lady.”
For most of rock and roll’s history, the idea of a group of men in their 70s and even 80s being out there on the road—even with a reduced touring schedule—was not even a consideration. And the Classic Rock bands who have called it quits, say they are calling it quits, or who now tour with none or one original/classic member have grown rapidly.
But on this night, Triumph, well, triumphed. And they brought a few thousand very appreciative and happy friends along with them in the Wayback Machine. Or, in this case, the Wayback Rock and Roll Machine.
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