Suki Waterhouse walking onto the massive stage at Scotiabank Arena felt like a quiet flex. No overblown intro video, no pyro, no need to announce herself as anything other than what she is right now: a pop artist who’s grown into her own lane and knows exactly how to work it. In a room built for bombast and spectacle, Waterhouse leaned into intimacy, mood, and emotional control, and somehow made the arena feel smaller than it had any right to.
From the jump, the crowd was locked in. Toronto showed up ready to sing, sway, and feel things. There was a noticeable mix in the audience too — longtime fans who’ve followed her music career from the early singles, newer listeners pulled in by the recent album run, and plenty of curious folks who came to see if she could really command a venue this size. By the end of the night, that question felt thoroughly answered.
She opened with “Dream Woman,” easing into the set with a hazy, atmospheric groove that immediately set the tone. The lighting stayed soft and shadowy, letting her voice do the heavy lifting. Live, the song breathed more than it does on record, with extended instrumental moments that gave the band room to stretch without losing the song’s dreamy tension. It was a smart choice: confident but unshowy, a way of saying, “Trust me, we’re going somewhere.”
That trust paid off quickly with “Supersad.” The crowd reaction jumped instantly, with phones going up and voices following every lyric. Waterhouse leaned into the emotional core of the song, delivering it with a mix of vulnerability and restraint that made it land harder live. She doesn’t oversing — she lets cracks happen, lets moments hang — and in a room this big, that honesty traveled surprisingly well.
“OMG” injected a needed burst of energy early in the set. The band tightened up, the lights brightened, and suddenly the arena felt awake in a different way. It was one of the night’s clearest reminders that Waterhouse isn’t just a mood artist; she knows how to build momentum. She moved more here, working the stage without forcing choreography, keeping things loose and natural.
“Johanna” pulled things back inward. This was one of the strongest vocal moments of the night, with Waterhouse standing nearly still, letting the song unfold at its own pace. The arena went quiet in that rare, respectful way — not dead silent, but hushed, attentive. It’s a testament to her growing confidence that she can command that kind of focus without spectacle.
The middle of the set leaned heavily into identity and self-awareness, starting with “Model, Actress, Whatever.” Introduced with a wry smile, it felt like a mission statement more than a song title. The crowd loved it, shouting along to lines that feel both self-deprecating and defiant. Live, it came across as sharper and more playful, with Waterhouse clearly enjoying herself and feeding off the reaction.
“My Fun” and “Moves” kept the energy rolling, forming a tight, back-to-back stretch that showed off the band’s versatility. “My Fun” had a loose, almost retro bounce to it, while “Moves” leaned darker and more sultry. The contrast worked well, giving the set a sense of dynamic flow rather than a flat emotional line.
One of the night’s emotional peaks came with “To Love.” The lighting dimmed again, the band pulled back, and Waterhouse delivered one of her most heartfelt performances of the evening. Her voice carried a little extra grit here, and whether intentional or not, it made the song feel lived-in rather than polished. In a space like Scotiabank Arena, moments like this can easily get lost — instead, it felt like everyone leaned in.
“On This Love” followed seamlessly, keeping that emotional thread intact while gradually rebuilding the arrangement. By the time the final chorus hit, the entire arena was singing along. It wasn’t the loudest moment of the night, but it might’ve been the most unified, a collective exhale shared between artist and audience.
She closed the main set with “Good Looking,” and it landed exactly how you’d want it to. Confident, catchy, and warmly received, it felt like a victory lap without being smug about it. The song’s breezy charm translated perfectly live, and Waterhouse looked genuinely grateful as she soaked in the response.
Throughout the night, her stage presence was understated but effective. She talked just enough between songs — thanking the crowd, acknowledging Toronto, making the occasional dry joke — without breaking the spell. There was no sense of trying too hard to be relatable; she just was. The band was tight and tasteful, never overshadowing her but clearly adding depth to the live arrangements.
Sound-wise, the mix was solid for a venue this size. Vocals stayed front and center, bass was warm without overwhelming, and the guitars shimmered nicely in the softer moments. It wasn’t a flashy production, but it didn’t need to be. The focus stayed where it belonged.
By the end of the night, it was clear that Suki Waterhouse isn’t just surviving in big rooms — she’s learning how to shape them to fit her aesthetic. That’s not an easy trick, especially for music built on mood and nuance. But in Toronto, she pulled it off with confidence, restraint, and a clear sense of who she is as an artist right now.
Setlist:
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Dream Woman
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Supersad
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OMG
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Johanna
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Model, Actress, Whatever
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My Fun
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Moves
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To Love
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On This Love
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Good Looking
Final Grade: A-