There are bands that fade into history and bands that live within it, shaping it as they go. Then there are groups like Orchestral Manoeuvres in the Dark—better known as OMD—who manage to bridge the two, existing both as pioneers of a sound and as artists who still push forward decades later. Their show at History in Toronto in July 2025 was a reminder of why they matter: a dazzling, energetic, deeply nostalgic, and forward-looking set that blended the hits everyone came to hear with newer material that proves they’re far from finished.
Toronto has always been a receptive city for OMD. Since their early days in the late ’70s and early ’80s, Canadians have embraced their synth-driven sound, placing them among the most beloved acts of the new wave era. But seeing them in 2025, in an intimate venue like History, was something different. The room was buzzing before the lights even dimmed—fans chatting about how many times they’d seen them, which album was their favorite, and how this night felt like a culmination. The vibe wasn’t just about nostalgia; it was about gratitude.
Setting the Stage
The house lights went dark, and the first synthetic tones of “Anthropocene” filled the air. Opening with a track from their most recent work set the tone immediately: OMD wasn’t just here to take us back; they were here to show us they’re still evolving. The song’s themes—environmental urgency wrapped in sleek synths—felt almost prophetic in the live setting. Andy McCluskey, still bounding across the stage with a kind of wiry, uncontainable energy, set the crowd into motion instantly. His voice hasn’t lost its edge, and Paul Humphreys, cool as ever behind the keys, provided the balance that has always defined the band.
From there, they pivoted into “Messages,” one of their earliest singles. The crowd erupted, voices raised in unison as that unmistakable melody swept through the room. It was a reminder that OMD’s catalog is stacked with songs that defined an era—yet still sound timeless.
Classic Meets Contemporary
The night’s brilliance lay in its sequencing. Following the opening punch, they slid seamlessly into “Tesla Girls,” which has always been a playful highlight of their catalog. Andy practically danced through it, the audience clapping along to every beat. Then came “Kleptocracy,” another newer track that fused political commentary with their signature synthpop textures. The juxtaposition of old and new never felt jarring; instead, it underscored OMD’s dual identity as both innovators and hitmakers.
“History of Modern (Part I)” continued that balance. It’s a song that manages to sound like a lost gem from their classic era while clearly belonging to their more recent creative rebirth. The crowd leaned into it, singing along as though it had been a radio staple for decades.
When Paul Humphreys stepped forward to take the mic for “(Forever) Live and Die,” the mood shifted into something softer, more wistful. His voice carried beautifully across the room, and it was a chance for longtime fans to remember just how essential Paul is—not just as the man behind the keyboards but as a vocalist in his own right.
A Run of Perfection
If the opening third of the set established OMD’s range, the next run of songs proved why they are considered giants of synthpop. “If You Leave,” forever immortalized by Pretty in Pink, drew one of the loudest singalongs of the night. You could feel the collective wave of nostalgia wash over the room—people swaying, couples holding hands, strangers smiling at each other as if united by a shared memory.
“Souvenir” followed, with Paul once again on lead vocals. The delicate beauty of that track, enhanced by lush synth layers, made the venue feel almost reverent. Then came the one-two punch of “Joan of Arc” and “Joan of Arc (Maid of Orleans).” These songs, often performed together, form one of the most powerful sequences in OMD’s live shows. “Joan of Arc” built with an emotional intensity, and then “Maid of Orleans” exploded with its martial beat and soaring synth lines. Andy spun and gestured dramatically, like a preacher possessed, and the crowd was completely under his spell.
Deep Cuts and Surprises
One of the best parts of this show was how OMD weren’t afraid to dive into less obvious choices. “The Rock Drill” and “Veruschka” aren’t staples of every tour, but hearing them in this context felt like a gift to diehard fans. Both songs showcased the experimental side of OMD—the willingness to stretch beyond pop structures into something more abstract, more art-driven.
“Don’t Go,” with its insistent rhythm and sharp edges, brought the energy roaring back up. Then “Pandora’s Box” filled the room with its cinematic sweep. It’s a track that often gets overlooked, but live, it resonates deeply—proof that their so-called “later period” has just as much weight as their early output.
The crowd stayed locked in through “So in Love” and “Dreaming,” two fan favorites that highlighted the more romantic side of their catalog. By the time “Locomotion” rolled in, people were dancing without inhibition. The groove of that song has always been irresistible, and it turned History into one giant dance floor.
Building Toward the Finale
The energy kept climbing with “Sailing on the Seven Seas.” It’s one of those songs that has grown in stature over time, and live, it feels massive—anthemic in a way few bands from their era can pull off. The audience shouted the chorus with unbridled joy, arms waving and feet stomping.
And then came “Enola Gay.” If OMD have a defining song, this is it—the one that encapsulates their ability to marry pop perfection with sobering political themes. The opening synth riff sent a shockwave through the room, and the crowd responded as though it had been waiting all night for this. Andy prowled the stage, delivering the vocals with urgency, while the band behind him nailed every nuance. It was a cathartic, unforgettable moment, equal parts dance party and history lesson.
The Encore
After a brief pause, OMD returned for a three-song encore that felt like a carefully chosen love letter to their fans. “Look at You Now,” another new track, opened the encore with vitality, showing once again that OMD are not content to coast on the past.
Then came “Secret,” one of their most beloved ballads. Andy’s delivery was heartfelt, the room bathed in a warm glow as the audience sang along. It was tender, emotional, and intimate—a striking contrast to the high-energy explosion that had just come before.
They closed, fittingly, with “Electricity.” Their very first single, and still one of their most powerful, it served as both a nod to their beginnings and a statement of endurance. The synths crackled, Andy danced like it was 1980, and the crowd gave everything they had left. When the final notes rang out, there was no doubt: OMD had given Toronto something unforgettable.
The Setlist in Full
Here’s the complete setlist from OMD at History, Toronto, July 2025:
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Anthropocene
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Messages
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Tesla Girls
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Kleptocracy
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History of Modern (Part I)
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(Forever) Live and Die
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If You Leave
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Souvenir
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Joan of Arc
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Joan of Arc (Maid of Orleans)
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The Rock Drill
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Veruschka
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Don’t Go
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Pandora’s Box
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So in Love
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Dreaming
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Locomotion
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Sailing on the Seven Seas
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Enola Gay
Encore:
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Look at You Now
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Secret
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Electricity
Final Thoughts
OMD at History wasn’t just a concert—it was a masterclass in how to honor your past while still embracing the present. The setlist was a carefully balanced mix of classics, deep cuts, and new material, each delivered with conviction and passion. Andy McCluskey remains one of the most dynamic frontmen of his generation, his energy defying age and his voice still sharp. Paul Humphreys provided the elegance and precision that have always anchored the band, while Martin Cooper and Stuart Kershaw kept everything locked in and alive.
What stood out most was the way the audience responded. This wasn’t just about nostalgia, though there was plenty of that. It was about connection—the sense that OMD’s music still speaks to something essential in people. Whether it was the communal singalong to “If You Leave,” the raucous dancing during “Locomotion,” or the quiet reverence of “Souvenir,” the crowd was fully engaged from start to finish.
Forty-five years into their career, OMD are still vital, still relevant, and still capable of delivering nights like this. They’re not just living in history—they’re still writing it. And for those lucky enough to be inside History in Toronto that night, it felt like being part of something both timeless and urgent.