October 18th, 2026
Some concerts are over the moment you leave the room. Others stay with you long after the lights come up. Bruce Cockburn’s two-set, 120-minute performance at Montreal’s intimate Gesu Theatre was definitely the latter.
At 81, Cockburn doesn’t need bells and whistles to hold an audience. Give him a guitar, a few stories and a stage, and he’s got you. His dry humour had the crowd smiling, but it was the music that really pulled everyone in. More than five decades into his career, he still plays with the curiosity and conviction of someone who has plenty left to say.
Joined by multi-instrumentalist Jeff Pevar and vocalist and percussionist Inger Nova, Cockburn delivered a show that felt less like a greatest-hits package and more like being invited into his musical world. Pevar added layers of color to the arrangements, while Nova’s voice and percussion brought warmth and depth. Their harmonies were a real treat, particularly in a venue where you could catch every little detail.
Opening with “Last Night of the World,” Cockburn eased the audience into the evening before shifting gears with “Night Train” and “On a Roll.” From there, the music travelled wherever it pleased. Folk, blues, jazz and rock blended together, sometimes within a single song. Nothing felt forced, and the musicians played off one another with the ease of people who genuinely enjoy making music together.
Naturally, the familiar favourites landed beautifully. “Lovers in a Dangerous Time” struck a chord, while “Wondering Where the Lions Are” brought a welcome rush of nostalgia. But Cockburn wasn’t interested in simply revisiting old glories. Songs such as “King of the Bolero,” “Push Comes to Shove” and “Orders,” from 2023’s O Sun O Moon, showed just how much ground his songwriting continues to cover.
Then came “If a Tree Falls.” Its warning about deforestation, first heard in 1989, still hits hard. In the close quarters of the Gesu, the song felt less like a trip down memory lane and more like a message we haven’t finished hearing.
There was plenty to watch, too. Cockburn moved between acoustic guitars, including his distinctive green Manzer, brought out a small green 12 string charango and even settled a mountain dulcimer across his lap. Each instrument changed the mood, reminding us that his musicianship is every bit as compelling as his songwriting.
For the encore, “Mama Just Wants to Barrelhouse All Night Long” sent things out on a loose, grooving high. It was the perfect finish: relaxed, playful and full of life.
Walking out, it was hard not to feel grateful for the chance to witness an artist still exploring, still connecting and still making these songs matter. At the Gesu, Cockburn didn’t just revisit a lifetime of music. He made it feel alive, right there in the room.
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Review & Photos By: © SD Photoart MTL : Sam Duchoeny
