Concerts Reviews
Toronto Fans Sing Through the Storm with Twenty One Pilots
On September 21, 2025, the Ohio-based musical duo, Twenty One Pilots, consisting of singer/ musician, Tyler Joseph and drummer, Josh Dun, were set to play Budweiser Stage in Toronto, Canada, on their third night of The Clancy Tour: Breach. This would be their second night in Toronto.
The energy in the air was buzzing, many still living off the high of attending the concert the previous night, while others will about to experience the show for the first time. Many fans travelled for the show as well, some coming from countries in Europe, as well as Ukraine and Brazil, as the band doesn’t have plans to tour in these locations. Toronto is the only Canadian stop on the tour as well.
As fans trickled into venue grounds, it was clear that this band has a dedicated fan base. Nearly every single attendee had dressed up for the occasion, wearing outfits inspired by characters in the band’s lore, basing their outfit on an album, taping their shoulders and hands, wearing their iconic colours of red, black, yellow, and green, or simply wearing pieces of band merch. Even some staff members had bracelets to trade! You could also sense such a strong sense of community, as many fans brought small items to trade and give away, such as art pieces inspired by the band, bracelets, pins and patches, and photo cards.
Another highlight of the day was when the band’s creative/ content director, Mark C Eshleman, and photographer, Mase, came out to film content of fans. They filmed art, outfits, and fans singing along to the band’s song, “We Don’t Believe What’s on TV”, of which would be used later on in a fan video during the show.
As the gates to the venue finally opened, fans who had waited all day for the show rushed towards their seats and places in general admission, while others took the time to admire the “Bandito Camp”, set in the lawn of the venue. The lawn is where B-Stage was held, and Bandito Camp featured a couple of tents placed and decorated around the venue featuring items from their lore, such as Bandito recruitment posters, playable ukuleles, and a Toronto flag for fans to sign.
However, the stress of the night began as fans learnt that the opener, Dayglow, had their set cut due to severe storms approaching. This meant that Twenty One Pilots took to the stage at approximately 7:45, rather than their usual time of 8:45.
The concert opened with the band’s popular first single and opener to their album “Clancy”, “Overcompensate”, and the energy and volume of the crowd was unbelievable. The energy continued during the entire night, however, due to the storms, they were only able to play 16 out of their usual 28 song set. This meant that fan-favourites, such as “Heavydirtysoul”, “The Line”, and “Stressed Out” didn’t make it on the setlist for the night.
The band did not let the weather stop them from squeezing in as many songs as possible, as they performed “Tear in my Heart”, “Shy Away”, and a sparks-filled performance of “Heathens”. They also managed to play their B-Stage set, including setting a car on fire during a couple of the songs, and performed with fans who dressed up as their character “Ned” when they played “Chlorine”.
During a moment in the show, the drummer, Josh Dun, playing his role as “Torchbearer”, lit a torch from the flaming car, and picked up the flag from the Bandito Camp, which fans were able to sign, and attached it to a flagpole. He carried the flag and torch through the venue back to the main stage, where a curtain dropped to reveal the city of Dema, representing a very critical moment in the band’s lore.
They also had pyro during “Jumpsuit”, played their radio hit, “Ride”, and played their iconic closer song, “Trees”, while standing on a platform held by the crowd as confetti rained down.
Although fans were disappointed by the outcome of the night, they tried to make the most of it by leaving the venue singing songs from the band, and dancing outside with one another in the rain. Although sad, many were very grateful that the band chose to play at all, rather than cancel the show entirely.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
Wed, Sep 24 – Tinley Park, IL – Credit Union 1 Amphitheatre
Sat, Sep 27 – Hershey, PA – Hersheypark Stadium
Sun, Sep 28 – Burgettstown, PA – The Pavilion at Star Lake
Tue, Sep 30 – Hartford, CT – Xfinity Theatre
Wed, Oct 01 – Bangor, ME – Maine Savings Amphitheater
Sat, Oct 04 – Wantagh, NY – Northwell at Jones Beach Theater
Sun, Oct 05 – Bristow, VA – Jiffy Lube Live
Tue, Oct 07 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Wed, Oct 08 – Charlotte, NC – PNC Music Pavilion
Fri, Oct 10 – West Palm Beach, FL – iTHINK Financial Amphitheatre
Sat, Oct 11 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
Tue, Oct 14 – Orange Beach, AL – The Wharf Amphitheater
Wed, Oct 15 – Alpharetta, GA – Ameris Bank Amphitheatre
Fri, Oct 17 – Birmingham, AL – Coca-Cola Amphitheater
Sun, Oct 19 – Rogers, AR – Walmart AMP
Mon, Oct 20 – Dallas, TX – Dos Equis Pavilion
Thu, Oct 23 – Chula Vista, CA – North Island Credit Union Amphitheatre
Sat, Oct 25 – Los Angeles, CA – BMO Stadium
Tickets and info at twentyonepilots.com/tour
TWENTY ONE PILOTS
All Photo Credit: Ashley Bellam
Concerts Reviews
LIVE REVIEW: A Sold-Out Night of Performance Art With Sudan Archives
Words by Kali Moreno
Photos by Kelli Rothwell
A sold-out night at The Pearl set the tone for a show that felt half concert, half art installation. Sudan Archives brought her genre-blurring world to Vancouver following the release of The BPM in 2025, with support from Cain Culto.
Cain Culto confidently navigated an energetic, multi-media set backed by Indigenous, Latin American, and Bluegrass influences – what he calls Kentucky Latin Art-Pop. As he gradually shed layers of clothing, he added homemade props to deliver his song’s messages of empowerment and resistance in both Spanish and English. His musical skills as a vocalist and violinist, paired with his artistic expression as a visual artist, created a riveting piece of performance art.
Dressed in a skin-tight, full body suit and wearing otherworldly grey contact lenses, Sudan Archives commanded a sold-out stage for her one-woman set at The Pearl. The deeply human themes of her songs, which sit in genre around house, techno, and R&B, were shared with the rowdy audience alongside recurring mechanical sounds and choreographed robotic movements. This examination of technology and humanity reminded that her artistry and expression transcend her talents as a singer, violinist, and beat-maker. Sudan Archives performed three encore songs, jumping off the stage to dance with the screaming crowd before leaving Vancouver with the parting words: “y’all are fucking lit.”
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming Tour Dates:
02-18 San Francisco, CA – Regency Ballroom
02-19 San Diego, CA – Music Box
02-20 Los Angeles, CA – The Fonda Theatre
More info on Sudan Archives’ website.
SUDAN ARCHIVES
CAIN CULTO
All Photo Credit: Kelli Rothwell
Concerts Reviews
LIVE REVIEW: The Captain of the Castro: Why Sam Smith’s Residency Is San Francisco’s New Sanctuary
Words by Starr Lee
SAN FRANCISCO- After an intimate residency in Brooklyn earlier this year, Sam Smith has brought the concept west, settling into San Francisco’s newly reopened Castro Theatre for a five-week run that feels deliberate and personal.
The neon marquee glows against the fog like it has something to say. Inside the 1,400-capacity movie palace, restored after a $41 million renovation, the main level fills quickly. No floor seating. Just a standing crowd packed beneath the balcony, bodies shoulder to shoulder, faces tilted toward the stage. Above them, fans lean over the railing, drinks in hand, waiting.
Smith walks out without fanfare.
They open with “Lay Me Down,” nearly motionless beneath a single spotlight. Dressed in a structured captain’s hat and a sweeping lace coat fastened with an oversized flower pendant, they look like a romantic voyager arriving somewhere that already feels familiar. The first note is soft, almost cautious. Then it opens.
In a room this size, nothing escapes. The Castros’ acoustics catch the grain in Smith’s tenor, the slight ache at the edge of sustained notes, the inhale before a chorus swells. The crowd is silent, standing still, listening.
When “I’m Not the Only One” begins, the temperature shifts. Smith lowers their voice for the first verse, almost speaking the lines before lifting into the chorus. On “You and me, we made a vow,” their voice tightens just slightly, intentional and controlled. By the second refrain, the crowd is singing quietly along. Not screaming. Not overpowering. Just enough to be felt. Smith steps back from the mic for a beat and lets the lyric hover before reclaiming it with a steady rise. The moment feels shared rather than performed.
After the second song, Smith looks out across the standing crowd below the balcony.
“This city means a lot to me,” they say. “My first show here, I was 20 years old.”
They tell a story about being left alone in San Francisco while a partner explored the city without them. About wandering through neighbourhoods by themselves. About unexpectedly falling in love with the place. “It feels very full circle to be here for five weeks,” they admit, scanning the room.
Then they squint toward the front.
“Wait. Were you here last night?”
A fan screams.
“Oh my God. You’re doing the residency properly. I love that.”
Laughter spreads across the floor and up to the balcony. That’s the difference when an artist stays in one place. The room starts to recognise itself.
Midway through the set, the lace coat slips away, revealing a custom Vivienne Westwood look: a black poet’s shirt with dramatic sleeves, tailored cheeky shorts, towering heeled boots striking sharply against the stage. The shift feels freeing. Smith moves differently now. Looser. More playful.
They introduce a new track, “My Guy,” sharing that for the first time in their career, they are writing from a place where the love is reciprocated. Followed by a cover of Erasure’s “A Little Respect”, “It’s a Wednesday,” they laugh, “but I need you to shake your titties.”
The balcony answers first.
A sleek blend of “Ain’t Nobody” and “I’m Not Here to Make Friends” turns the theatre intoa late-night dance floor. But soon they bring the energy back down to another cover
Later, bathed in deep blue light, Smith steps toward the piano for “Angel From Montgomery.”
“It took me eight years to finally listen to Elton and sing this,” they admit.
The arrangement is stripped back to piano and voice. No embellishment. The lower register carries weight. The higher notes remain clear and measured. When the final line fades, the room holds still for a second longer than expected before applause breaks through.
Sam Smith’s residency at the Castro Theatre runs through Feb.10th-March 14th, 2026. Tickets are available via the theatre’s official website. With just 1,400 standing spots per night and word spreading quickly, availability is limited.
Five weeks in one theatre does something rare. It turns a concert into a chapter. And this one is still being written.