The FIFA Fan Festival™ in Vancouver kept the World Cup excitement rolling on June 12 with a full day of soccer, live music, and community programming at the festival grounds. Fans arrived early for the opening match between Canada and Bosnia and Herzegovina (ending in a 1-1 tie), creating a lively atmosphere as supporters packed in to cheer on the home side and soak up the tournament energy.

Beyond the match screenings, the festival offered plenty of entertainment throughout the day. Local performances from Famous Players and Side One helped keep the crowd engaged during the afternoon, while Down With Webster brought a dose of Canadian nostalgia later in the day. The combination of live music and World Cup action made the Fan Festival feel like much more than a viewing party, giving visitors reasons to stay long after the final whistle.

The evening belonged to Vancouver favourites Dear Rouge and electronic duo The Funk Hunters. As the sun began to set over the festival grounds, both acts drew large crowds eager to celebrate the start of the weekend. Dear Rouge delivered their signature mix of indie rock and synth-pop, while The Funk Hunters closed out the night with an energetic set packed with danceable beats that had fans moving from start to finish.

With soccer on the big screens, local talent on stage, and thousands of fans gathering in one place, June 12 showcased exactly what the FIFA Fan Festival™ is all about: bringing people together to celebrate the game and the culture surrounding it.

Check out our photos of the day below or head to our Facebook page for the full gallery!

THE FUNK HUNTERS

DEAR ROUGE

FIFA FAN FESTIVAL™

All Photo Credit: Caroline Charruyer

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.