Festivals
All Things Go Toronto 2025 – Day Two Recap & Photos
If day one of All Things Go Toronto was for pop lovers, day two was for country dreamers. The Budweiser Stage was buzzing early Sunday, and “Besties” (as All Things Go fans are named) were back in full force trading bracelets, stories, and theories about who Role Model’s mysterious “Sally” will be.
Kicking things off was Baby Nova, whose airy pop and unshakable sincerity instantly caught the crowd’s attention. Dressed in an ethereal white dress, she was radiant. She shared that it was her first ever festival performance, earning cheers from the early crowd. She played a few unreleased songs, including “Death Wish,” and had everyone singing “happy birthday” to her guitarist, Leo. By the time she closed with “Too Pretty for Buffalo,” it was clear Baby Nova’s name won’t stay small for long.
Alemeda took things up a notch. The crowd was still trickling in, but the early risers were ready for her. Even with some in-ear monitor issues, she powered through like a pro, switching between love songs and fiery bangers without missing a beat. Her blend of indie pop and Y2K energy hit just right under the afternoon sun. She previewed a new track off her next project and tore through “BEAT UP A B!TCH,” her upcoming collab with Doechii dropping October 10th. The crowd, many there early for Role Model, screamed every lyric anyway.
Then came Joy Oladokun, who completely changed the pace with an acoustic set after her band couldn’t make it across the border. Standing solo with her guitar, she filled the amphitheatre with warmth and grace. She mixed her own songs with covers of like the Beatles’ “Blackbird.” At one point, she paused to send love to trans folks: “you are loved,” drawing loud applause. It was the quietest set of the day but maybe the most powerful.
Toronto’s own Valley brought their usual chaos and charm right onto the stage. You’d never guess they had just taken a red-eye flight from Los Angeles as their energy was nonstop. The band traded instruments mid-set, bantered between songs, and looked genuinely thrilled to be home. As usual, Rob Laska and Alex Dimauro were a riot, and Karah James stepped out from behind her drum kit. By the time they hit “When You Know Someone,” the crowd was one big sweaty choir. One of the highlights included their MGMT cover of “Kids.”
Noah Cyrus followed with one of the day’s most visually stunning sets. Her stage looked like a mossy forest, complete with rocks, soft lighting, and her full band, including a violinist. As the sunset poured across the stage, she appeared in a beautiful chainmail-like corset, opening with “I Saw the Mountains.” Her voice, raspy and rich, carried through the warm evening air. There were moments where it was easy to mistake her tone for her sister Miley’s, but Noah’s energy felt distinctly her own. “If There’s a Heaven” landed beautifully, leaving the audience swaying in silence.
Then came Charlotte Cardin, Toronto’s queen of cool for the day. She strutted on stage after “Man! I Feel Like a Woman!” played through the speakers. Her hour-long set was packed with highlights: “Jim Carrey,” “Passive Aggressive,” and her recent single “Tant pis pour elle,” released just three weeks earlier. Her vocals were laser-sharp, her presence magnetic. She noted that it was her second to last show on the 99 Nights Tour, a tour that started in 2023! Fans sang along to “Anyone Who Loves Me” and danced to the incredible “Feel Good” as the sun was setting behind Budweiser Stage. While she mostly stuck to the english part of her catalog, she did pepper her set with some french words here and there. She closed her set with “Confetti.”
Role Model might’ve had the loudest crowd of the day. Fans in “Diva!” shirts or carrying signs with “Diva”-related puns screamed as Tucker Pillbury stepped out in his usual jeans and cowboy boots. He launched right away into “Writing’s on the Wall.” His set was equal parts heartache and humour: changing lyrics to shout out Toronto, playfully calling his band Twenty One Pilots, and egging on barking fans (“They let the dogs out tonight!”). His cover of The 1975’s “Somebody Else” had phones in the air, but the biggest moment came when “Sally, When the Wine Runs Out” hit, and Charlotte Cardin returned, two glasses of champagne in hand, to play “Sally” herself. The crowd went wild. Our highlight was the fan who wore a coffee cup costume from “Sally’s” ; while the cup did not make it until the end of the set, it had quite the effect in the pit.
Finally, Kacey Musgraves closed the weekend with grace and wit. Her stage was draped in moss, galaxies, and soft light, perfectly matching her mellow country glow. She opened with “Cardinal” and carried through a set that felt like an exhale for the last set of the festival. Her mix of Deeper Well songs with Golden Hour favourites had everyone dancing in the pit. She cracked jokes, shared stories from her Nashville beginnings, and dedicated “Follow Your Arrow” to “all the gays,” a moment that drew one of the biggest singalongs of the night. During “Lonely Weekend,” a photo of a depressed Kermit the Frog flashed onscreen, and everyone burst out laughing. She closed with “Deeper Well” under a shower of confetti, leaving the crowd glowing.
Day Two felt bigger, busier, and a touch more country than Saturday’s pop-heavy lineup, a perfect balance for All Things Go’s first Toronto run. With food trucks, bracelet stations, sponsor pop-ups, and even Boomfy the festival mascot posing for selfies, the weekend had a small-community feel despite its scale.
All Things Go may have wrapped, but its message of championing women, non-binary artists, and inclusivity, landed loud and clear. As the gates closed on Budweiser Stage for the season, Besties left under confetti skies already wishing for next year!
Check out our favourite photos of the day below or head to our Facebook page for the full gallery!
KACEY MUSGRAVES
ROLE MODEL
CHARLOTTE CARDIN
VALLEY
JOY OLADOKUN
ALEMEDA
BABY NOVA
FESTIVAL
All Photo Credit: Caroline Charruyer
Festivals
All Things Go Toronto 2026 – Day Two Recap & Photos
Lorde closes a remarkable weekend as Wet Leg, Del Water Gap and Jade LeMac shine
After Saturday’s heat and wind, Sunday arrived with slightly cooler temperatures that many fans welcomed. The sun remained intense throughout the afternoon, but the fresher air made for a more comfortable day at RBC Amphitheatre as thousands returned for a lineup led by Lorde.
One thing that became increasingly noticeable throughout the weekend was how respectful the crowd remained. Fans rotated spots at the barricade throughout the day, allowing dedicated supporters of each artist a chance to move closer for their favourite sets. In an era where festival rail culture can sometimes become competitive, the atmosphere felt unusually collaborative.
The day began with Flower Face, whose soft and dreamy songs provided the perfect soundtrack for an early afternoon set. The Montreal artist eased fans into the day with an understated performance that matched the calmer energy of the crowd still settling into the venue.
Momma followed with a set full of fuzzy guitars and indie-rock charm. The Brooklyn band attempted to rally support for their hometown basketball team with a “Let’s go Knicks!” chant, referencing the NBA Finals. The response from the Canadian crowd was polite at best, but the band’s performance won people over regardless.
Jade LeMac delivered one of my favourite sets of the weekend. The last time I had seen her was in 2024 at Vancouver’s Hollywood Theatre while she was opening for Christopher. The growth since then was impossible to miss. Her confidence, stage presence and command of the audience have all taken major steps forward.
LeMac shared that she would soon return to the venue while supporting Hilary Duff on tour, drawing excited reactions from fans. Dedicated supporters packed the barricade, singing every lyric back to her while waving pink balloons during “Pink Balloons.” The gesture clearly caught her attention. Before performing a song inspired by her girlfriend, who was in attendance, LeMac wished the crowd a happy Pride Month. By the final song, hands were in the air throughout the venue as fans sang along at full volume.
Del Water Gap was my personal discovery of the weekend. I arrived knowing only a handful of songs but left fully converted. His stage presence was impossible to ignore. He thanked fans repeatedly and pointed out that Toronto had become the first city on his current tour to sell out. One of his biggest laughs came when he jokingly apologized for the United States being a difficult neighbour to Canada.
The energy during his set spread far beyond the pit. Fans danced and jumped from the front barricade all the way to the back of the lawn. During one song, inflatable horse balloons suddenly appeared throughout the crowd as a playful nod to his “horsewithabowlcut” fan lore. It was both weird and hilarious, and left several fans with a great keepsake.
By the time Wet Leg took the stage, the venue had become noticeably more crowded. I missed their Vancouver stop last year, so finally catching them felt long overdue. Frontwoman Rhian Teasdale immediately justified the anticipation. Her combination of effortless cool and boundless energy made for one of the strongest performances of the day.
Wet Leg‘s songs often balance sharp wit with explosive guitar work, and that contrast translated perfectly to the festival stage. The audience embraced every second of it. Whether Teasdale was bouncing around the stage or delivering lyrics with complete nonchalance, she held the crowd’s attention from start to finish.
Then it was time for the last artist of the weekend: Lorde. I’ll admit that I approached her set with curiosity more than fandom. I know plenty of her songs, but I wouldn’t consider myself a devoted follower. What I wanted to know was whether her live show would pull me in, and it absolutely did.
Having seen elements of the production at Governors Ball the previous day, I wondered whether the Toronto version would be scaled back. Instead, Lorde brought the full production. Live musicians, dancers, lasers, moving platforms, projection effects, pyro and elaborate lighting combined to create one of the most visually ambitious festival performances I’ve seen in recent memory, yet none of it felt excessive.
Every production element served the songs and reinforced the emotional themes running through the set. The show unfolded almost like performance art, with Lorde using movement, visuals and staging to communicate ideas beyond the lyrics themselves.
The heartbeat motif that connected the performance acted as a thread running through the entire 90-minute set. Songs flowed together seamlessly, creating a narrative arc rather than a simple collection of hits.
What impressed me most was Lorde‘s commitment. She never appeared to be pacing herself for the end of a long festival run. Every song received the same level of intensity and focus. As darkness settled over the amphitheatre, the production became even more striking. Lasers cut through the night sky while moving platforms elevated Lorde above the stage. Massive projections transformed the stage into a constantly evolving visual environment.
For the final moments of the weekend, Lorde left the main stage and joined fans in the crowd on a small platform. Surrounded by people singing every word, she danced and celebrated among them rather than above them. It was a fitting conclusion for a festival built around connection.
Across two days, All Things Go Toronto once again proved that its appeal extends far beyond its lineup. The festival’s single-stage format eliminates conflicts, its audience culture encourages community, and its commitment to representation continues to set it apart.
Sunday gradually built momentum from one artist to the next until it reached a spectacular climax with Lorde. Combined with Saturday’s triumphs, it capped off a weekend that felt welcoming, joyful and refreshingly different from the typical festival experience.
For two days on Toronto’s waterfront, All Things Go delivered exactly what it promised: great music, a strong sense of community and a reminder that festivals can still feel personal, even at this scale.
Check out our favourite photos of the day below or head to our Facebook page for the full gallery!
For more information about All Things Go Toronto, DC and NYC, head to allthingsgofestival.com.
LORDE
WET LEG
DEL WATER GAP
JADE LEMAC
MOMMA
FLOWER FACE
Photo Credit: Caroline Charruyer, unless otherwise noted.
Festivals
îLESONIQ 2026 Reveals Daily Schedule for August 8 and 9
The countdown to îLESONIQ 2026 is officially on. With less than two months until thousands of electronic music fans descend on Parc Jean-Drapeau, the festival has unveiled its full daily schedule for the weekend of August 8 and 9, giving attendees their first look at set times and inevitable schedule conflicts.
Returning for its 11th edition, Montreal’s premier electronic music festival will once again transform the island into a massive dance floor spread across three stages. This year’s lineup leans heavily into house, bass, techno, trance, and EDM, with major names filling nearly every time slot from the early afternoon through late evening.
Before the main festival weekend begins, îLESONIQ will once again bring the party into the city on Friday, August 7, through its annual “îLESONIQ in the City” programming. Kicking things off will be Adventure Club, who are set to headline a special event at New City Gas.
Saturday, August 8
Saturday’s programming offers one of the strongest opening days the festival has assembled in recent years, with major artists spread strategically across all three stages.
The Bell OASIS Stage serves as the centerpiece of the day. After early performances from MVNGO, Tomas Grey, Matt Sassari, Sidepiece, and Sub Focus, things take an interesting turn with a mystery artist currently occupying the 7:05 PM slot. Festival organizers have yet to reveal who will fill the surprise position, making it one of the biggest talking points surrounding the schedule announcement.
Once the secret set concludes, legendary Canadian producer deadmau5 takes over from 8:10 PM to 9:10 PM before house music heavyweight Chris Lake closes the stage with a lengthy headlining performance running until 10:55 PM. His appearance is particularly noteworthy as festival organizers have promised a unique Canadian-exclusive production featuring surprise guests.
Over at the MIRAGE Stage, Saturday caters heavily to fans of melodic house, techno, and deep electronic sounds. Riordan, KREAM, and Boris Brejcha headline a lineup that steadily builds throughout the afternoon. Two exclusive back-to-back performances stand out as potential highlights of the entire weekend: Cassian B2B Yotto and Boys Noize B2B Tiga. Both collaborations are rare bookings that should attract large crowds throughout the evening.
The Coca-Cola NEON Stage becomes bass music headquarters on Saturday. Artists such as LYNY, OGUZ, Layz B2B Kompany, and ATLiens deliver a much heavier sonic experience compared to the festival’s other stages. The run from OGUZ into Layz B2B Kompany and finally ATLiens creates one of the most intense closing stretches anywhere on the grounds.
Of course, the schedule announcement also reveals several difficult decisions for attendees. Deadmau5 overlaps significantly with the Boys Noize B2B Tiga set, while Chris Lake’s closing performance conflicts with Boris Brejcha and ATLiens. Those late-night choices will likely divide crowds across the site.
Sunday, August 9
Sunday offers a completely different personality, blending melodic festival favourites with some of the weekend’s heaviest bass and techno programming.
The Bell OASIS Stage opens with Tom Duno B2B Yurie before moving through performances from Hayla, Ayybo, and Chris Lorenzo. The evening stretch is especially loaded, featuring Gryffin, Above & Beyond, and Dom Dolla in succession.
Above & Beyond‘s sunset-adjacent set from 7:35 PM to 8:50 PM feels perfectly positioned and could become one of the emotional high points of the festival. Meanwhile, Dom Dolla receives one of the weekend’s most coveted slots, closing the main stage from 9:00 PM until 10:30 PM.
Sunday’s MIRAGE Stage shifts away from Saturday’s house and techno focus and embraces bass music. Fans of heavier sounds will find plenty to enjoy from Hedex, Level Up B2B Infekt, Dabin, Wooli, and Seven Lions. The sequence of Wooli directly into Seven Lions creates a powerful finale that should keep the area packed until the festival’s closing moments.
The Coca-Cola NEON Stage takes the opposite approach by dedicating much of the day to techno. Rising and established names including KI/KI, Holy Priest, and ¥ØU$UK€ ¥UK1MAT$U headline a stage expected to become a destination for fans seeking harder underground sounds. Combined with the waterfront setting and views of the Montreal skyline, the NEON Stage continues to offer one of the festival’s most distinctive atmospheres.
Sunday’s toughest scheduling conflicts arrive during the final hours. Above & Beyond overlaps with Dabin and KI/KI, while Dom Dolla competes directly against Seven Lions and Holy Priest. Fans will likely find themselves bouncing between stages to catch portions of multiple performances.
A Weekend Built Around Variety
What stands out most from the newly released schedule is how carefully the festival has balanced genres across its three stages. The Bell OASIS Stage remains the home for mainstream EDM, house, and festival anthems. MIRAGE offers a more immersive experience that changes direction each day, moving from melodic house and techno on Saturday to bass music on Sunday. Meanwhile, the NEON Stage continues serving fans of underground sounds, splitting its weekend between bass-heavy programming and hard-hitting techno.
With headliners including Chris Lake, Dom Dolla, deadmau5, Above & Beyond, Boris Brejcha, Seven Lions, Gryffin, and Wooli, festival-goers have no shortage of must-see sets to circle on their schedules.
Now comes the hard part: figuring out where to be when the inevitable conflicts arrive.
îLESONIQ 2026 takes place August 8 and 9 at Parc Jean-Drapeau in Montreal, with îLESONIQ in the City events beginning on August 7. Head to îLESONIQ’s website for more information.