On a chilly Monday night in Winnipeg, the Club Regent Event Centre was transformed into an intimate haven for rock fans as Theory of a Deadman brought their Unplugged Canadian Tour to town. With stripped-back arrangements, candid storytelling, and a few unexpected surprises, the night was a memorable showcase of musicianship and hometown pride.
Before Theory of a Deadman took the stage, the audience was treated to a stunning opening set from The Tea Party frontman, Jeff Martin. Performing solo, with just a mic, stomp pad, and his trusty twelve-string guitar, Martin captivated the crowd with his signature rich baritone and masterful guitar work.
Jeff Martin. Photos by Samuel Stevens Photography
His setlist was a journey through both nostalgia and artistry, beginning with "Coming Home" and "The Grand Bazaar." He weaved in "Winter Solstice" and a heartfelt rendition of Daniel Lanois’ "The Messenger," which drew a hushed reverence from the audience. One of the most stirring moments came during his solo song "The Kingdom," where he seamlessly intertwined John Lennon’s "Imagine" into the bridge — a poignant reminder of music’s power to unite. He closed his set with a mesmerizing medley of "Zahira," "Halcyon Days," and "Sister Awake," reminding everyone why he remains one of Canada’s most cherished voices.
Then came the main event. Theory of a Deadman, fronted by Tyler Connolly, took the stage to enthusiastic cheers. Right from the opening notes of "Gentleman," it was clear the band was here to have fun and deliver a show that felt equal parts rock concert and basement jam session — an ode to the band's earilest roots. The band’s playful energy was contagious, especially on tracks like "Lowlife" and "Blow," where Connolly’s storytelling and dry humour shone between songs. One of the night’s most unique moments came when the band broke into a spirited jam of "Dueling Banjos" — something nobody saw coming but everyone enjoyed. Winnipeg’s local flair was honoured with a special performance of "Livin’ My Life Like a Country Song," featuring Manitoba’s very own country artist Kendra Kay, who joined the band onstage and absolutely owned the moment, drawing loud cheers from her hometown crowd.
Theory of a Deadman. Photos by Samuel Stevens Photography
Slower moments like "All or Nothing" and "Santa Monica" provided perfect opportunities for singalongs, with the audience’s voices rising to meet the band’s. Theory also paid tribute to their rock influences with a beautifully executed cover of Alice in Chains’ "Got Me Wrong," reminding us of the band’s grunge roots and versatility.
Just when you thought things couldn’t get more fun, "Bitch Came Back" took on new life with a playful medley that included snippets of Journey's "Don’t Stop Believin’" and Van Halen’s "Jump" — it was a party, plain and simple.
For the encore, the band leaned into their Canadian roots with a soulful and reverent cover of Leonard Cohen’s "Hallelujah," sending chills through the entire sold-out room. Then came "Rx (Medicate)," elevated with fun interludes of Guns N Roses "Paradise City," Pantera's "Walk," and Blur's "Song 2" — blurring genre lines and showing off the band’s playful confidence. They closed the night with the fiery "Bad Girlfriend," sending everyone home with smiles and hoarse voices.
All in all, Theory of a Deadman’s Unplugged show was more than just an acoustic set; it was a celebration of connection — between bandmates, special guests, and a crowd eager to laugh, sing, and reminisce. With moments both tender and rowdy, and a spotlight on Canadian talent, Winnipeg got exactly what it hoped for: a night to remember.