There are hometown shows, and then there are hometown statements. The Beaches taking over Scotiabank Arena in Toronto felt like the latter—a moment that wasn’t just about selling tickets or playing the biggest room of their career, but about planting a flag. This was a band that spent years grinding through clubs, festivals, and mid-sized theaters, suddenly standing on one of the largest stages in the country and looking completely, almost casually, at home. No nerves. No overcompensation. Just four musicians walking out like this was always where they were headed.
They opened with “Last Girls at the Party,” and it immediately set the tone for the night. The roar from the crowd was massive, the kind of welcome that only happens when a city genuinely claims a band as its own. The song exploded out of the gate—loud, celebratory, and messy in exactly the right way. It felt less like an opener and more like the continuation of a party that had already been raging for years. From the first chorus, the arena was fully engaged, singing, jumping, and proving that this wasn’t a novelty booking or a curiosity-driven crowd. These people knew every word.
“Touch Myself” followed and leaned straight into The Beaches’ greatest strength: confidence without apology. The guitars were sharp, the rhythm section punched hard, and the band’s chemistry was obvious. They weren’t playing to the crowd; they were playing with it. That dynamic only grew stronger on “Me & Me” and “Cigarette,” both of which hit with the kind of punch that made the arena feel smaller, tighter, more like a packed club than a cavernous sports venue.
The shift into “Grow Up Tomorrow” brought a slightly moodier edge, but it never slowed the momentum. If anything, it added depth to the set early on, reminding everyone that The Beaches aren’t just a party band—they’re a band that knows how to balance swagger with vulnerability. That balance paid off big time when they launched into “Shower Beer,” which sent the energy back into overdrive. The crowd lost it. Drinks in the air, hands up, lyrics screamed at full volume. It was one of those songs that becomes a shared ritual live, and in Toronto, it felt almost ceremonial.
“Did I Say Too Much” marked the first emotional pivot of the night. The lighting softened, the pace relaxed slightly, and suddenly the arena felt more intimate. Thousands of voices sang along, turning what could have been a quieter moment into one of the loudest. The Beaches have always been good at writing songs that feel personal without being insular, and this was a perfect example of that connection playing out on a massive scale.
That emotional thread continued into “Fine, Let’s Get Married,” which landed as one of the night’s most powerful moments. In a hometown arena, the song felt heavier, warmer, and more communal. It wasn’t just about the lyrics—it was about shared history, shared growth, and the sense that both band and audience had grown up together. The applause afterward lingered longer than usual, as if no one wanted to break the moment too quickly.
The mid-set run of “Dirty Laundry,” “Can I Call You in the Morning?” and “What Doesn’t Kill You Makes You Paranoid” showcased the band’s range and pacing. Each song flowed naturally into the next, keeping the energy up without burning out the crowd. The Beaches were in complete control here, moving confidently across the stage, trading glances, laughing between lines, clearly enjoying themselves without losing focus.
“Everything Is Boring” brought a sarcastic, almost cathartic release, followed immediately by “Lesbian of the Year,” which was greeted like an anthem—without ever feeling forced or performative. The reaction was huge. Pride flags waved, phones lit up, and the entire arena felt united in the song’s defiant joy. It was loud, emotional, and unmistakably The Beaches.
With “Edge of the Earth,” the band shifted gears once more, giving the night a sense of scale and drama. The lighting grew darker and more cinematic, and the song swelled beautifully in the arena, proving that their sound can stretch just as effectively as it can punch.
The sprawling medley—“T-Shirt / Fascination / Blow Up / Give It Up / Lame / Money”—was pure chaos in the best way. It felt like a greatest-hits sprint through their catalog, a nod to longtime fans who had been there since the early days. Each snippet landed just long enough to spark recognition before charging into the next, keeping the crowd on its toes.
The final stretch hit hard. “Jocelyn” and “Takes One to Know One” kept the energy surging, but it was “Blame Brett” that truly detonated the room. The singalong was deafening, the band played it like a victory lap, and the moment felt massive—one of those defining live peaks that sticks with you long after the lights come up.
The encore was inevitable. “I Wore You Better” and “Sorry for Your Loss” brought a mix of nostalgia and emotional release before the night closed with “Last Girls at the Party (Reprise)” featuring TALK. It was a perfect full-circle ending—joyful, communal, and unmistakably Toronto.
This wasn’t just a big show for The Beaches. It was a confirmation. They didn’t just belong on an arena stage—they owned it.
Setlist:
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Last Girls at the Party
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Touch Myself
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Me & Me
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Cigarette
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Grow Up Tomorrow
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Shower Beer
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Did I Say Too Much
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Fine, Let’s Get Married
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Dirty Laundry
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Can I Call You in the Morning?
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What Doesn’t Kill You Makes You Paranoid
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Everything Is Boring
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Lesbian of the Year
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Edge of the Earth
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T-Shirt / Fascination / Blow Up / Give It Up / Lame / Money (Medley)
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Jocelyn
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Takes One to Know One
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Blame Brett
Encore:
19. I Wore You Better
20. Sorry for Your Loss
21. Last Girls at the Party (Reprise with TALK)