[REVIEW] SUMMER OF LOUD TOUR @ BUDWEISER STAGE
7/15/2025
(Written for ADDICTED Magazine)
On July 15th, the Summer of Loud tour made its only Canadian stop at Budweiser Stage in Toronto with an emotional weight behind its high-volume celebration. More than just a showcase of revered pop-punk, metal, and hard rock talent, this 2025 tour is dedicated to the memories of Dave Shapiro, Emma Huke, and Kendall Fortner - loved figures in the alternative music world who tragically lost their lives in the San Diego Cessna crash this past May. All three were part of Sound Talent Group, a music agency that helped build and support many of the bands on the bill, with personal friendships and deep professional ties that shaped the very sound this tour represents. That connection made the night feel especially heartfelt but nevertheless, the day long celebration of heavy tunes in the summer heat united fans across punk, emo, and alt-metal generations with a rotating cast of legacy acts and rising stars that strikes a balance between honouring the roots of its sound while spotlighting the future. What follows is a breakdown of each band’s set and how they delivered on the promise of summer’s loudest tour.
KINGDOM OF GIANTS
3pm hits and Kingdom of Giants wasted no time making their mark during the Toronto stop the tour. Lead singer Dana Willax immediately lit the fuse, promising the crowd a full 26 minutes of unrelenting energy and with that level of confidence, should we really be surprised that they delivered? The band, proudly introducing their California roots, hit the stage hard with a high-voltage opener that told earlycomers exactly who they are and what they’re bringing next. That includes Collide, their newest single dropped alongside word of the upcoming Burning Chrome EP, due August 29.
Dana’s commanding screams paired perfectly with bassist Jonny Reeves’ gritty vocals, creating a powerful dual-vocal attack. Breakdown sections landed with pinpoint precision which isn’t really a bombshell given their hardcore pedigree but even under the scorching midday sun, their performance remained tight and intense. As the clock wound down, they pressured the crowd into a circle pit that grew larger with each song. By the time they launched into near-concluding anthem Burner, Dana was up against the barrier, face‑to‑face with fans, cementing their role as the tour’s essential spark plug. A straight up ass-kicking opener, Kingdom of Giants set the bar high.
ALPHA WOLF
Alpha Wolf hit the Budweiser Stage like a fuse already lit, fitting for a show already started. They unleashed a set that was loud and effortlessly cool (despite the Toronto heat) by the time they started Mangekyō, a standout track from their latest album and 2024 release “Half Living Things“. They had a “wild yet laidback” vibe that shone through the attitude of their music and combined with their Aussie heritage, it’s an awesome reminder that metalcore isn’t just a sound tied to one coast or one country. It’s exciting that even specific genres like this knows no borders - just raw emotion and riffage that translate fluently across oceans. With tracks so brutal, it kind of makes you hope that the audience has enough left in the tank to fuel them for the rest of the performances. Frontman Lochie Keogh took a moment to call out Toronto as the biggest show of the tour so far, and so it made sense that the band made sure to match that energy tenfold to give the crowd their money’s worth.
From the start, Alpha Wolf made it clear: if the crowd wasn’t moving, they weren’t doing their job. This challenge didn’t go ignored by the fans with a brutal circle pit opening halfway through, visible even from the towering venue screens. Crowd-surfers floated above with everything from sneakers to Crocs—the unofficial antidote to the sweltering Toronto sun.
Bassist John Arnold’s gritty backing vocals harmonized well with Lochie’s full-force screams, while guitarist Scottie Simpson delivered precision riffing amid the chaos - there's just something about layered screams that just adds more spice to heavy hardcore guitars. Rhythm guitarist Sabian Lynch, somehow donning a mask in the downtown heat, made it a point to hype up the front row before the band exploded into fan-favorite closer Akudama, launching the crowd to yell back to CUT IT OFF.
A group of natural performers with consistent relentless energy, the band quite channeled the inspiration for their name. It’s a thrill to see how far metalcore has stretched, and with Alpha Wolf, Australia’s contribution to the genre feels both refreshing and feral in the best way, pushing the crowd into even more frenzied territory than the set before.
THE DEVIL WEARS PRADA
The Devil Wears Prada took the stage confidently like seasoned veterans in the game, showing exactly why they’ve remained a staple in the metalcore world since their 2005 debut. Already interacting with the crowd, they kicked things off with Watchtower, a tight and aggressive opener that immediately set the tone - a fitting description for the song with Giuseppe Capolupo’s snare drums sounding like machine guns. Not long after, they threw it back to Danger: Wildman, a track that brought a wave of nostalgia for longtime fans. From there, the set shifted toward newer material, showcasing how the band’s sound has evolved without losing its core intensity.
More emotional tracks like Salt and Broken followed, while Ritual leaned into a more electronic-driven vibe really highlighting the range of the band and where they decided to take their music. Jeremy DePoyster, stylin’ in his trucker hat and sunglasses, lightened the mood by commanding fans to start a deliberately slow circle pit during For You, one of the more sentimental moments of the afternoon. The result was likely one of the slowest pits in Budweiser Stage history. A clever twist on the usual chaos.
Mike Hranica’s signature screams were as sharp and cutting as ever, while Jeremy engaged the crowd with humour, even offering $25 to anyone who could bring him an Aperol Spritz from the venue’s lawn-stationed minibar visible from the stage. To no surprise, the band of course also took a moment to pay tribute to Dave Shapiro and especially former TDWP drummer Daniel Williams, adding a poignant layer to an already emotionally charged set.
Closing with Chemical and Sacrifice, The Devil Wears Prada delivered a rounded and fun performance that honoured their past while embracing their present. Equal parts headbangers and somber celebration of life as well as friends.
THE AMITY AFFLICTION
The Amity Affliction walked on stage with quiet confidence as the show’s final opener, with a burning band logo lighting up the background of the stage as eerie, horror-inspired music swelled in the background. Drummer Joe Longobardi stepped behind the kit, flexing proudly in a Toronto Maple Leafs tank top that earned instant approval from the hometown crowd. Without much buildup, Joel Birch's signature growls signalled the start of Pittsburgh, with bassist Jonny Reeves once again impressing with his soaring backup vocals. The first brick was laid precisely for a set that built a dynamic post-hardcore wall of sound.
Throughout the performance, the band moved between crushing breakdowns and emotionally charged melodies with ease. Drag the Lake kicking off with the piano-led intro literally stood out as a pivotal moment for the crowd as right when the track dropped, it was easy to spot seated fans rising up to match the band's intensity with headbangs and cheers. Behind them, album-branded banners resembling war flags was a subtle touch but complimented the vibe. They also barely paused between songs, moving with the efficiency of a band that’s been doing this for nearly two decades.
Joel Birch, still recovering from a foot injury sustained earlier in the tour, didn’t let it slow him down. He climbed risers, engaged the front row, and returned fan energy with shakas and smiles. Near the set’s end, Birch made sure to call out two young fans, one wearing protective earmuffs and sitting on shoulders near the pit. He dedicated Soak Me in Bleach to them, turning their night into something unforgettable. That moment, and the crowd’s full-throated singalong, reminded everyone that The Amity Affliction’s raw honesty and cathartic power are still hitting just as hard for old fans as well as new.
I PREVAIL
As dusk crept over Toronto’s Budweiser Stage, the swell of intense, layered music let the crowd know I Prevail is here. Without warning, lead vocalist Eric Vanlerberghe growled a thunderous “TORONTO,” sending a jolt through the crowd before launching into the opening assault of Bow Down. Pyrotechnics erupted around the band in multiple directions, flames timed to every beat, setting the tone for what must be one of the most electrifying sets of the Summer of Loud. Positioned around a stage designed with towering stone pillars, barbed wire, and chain-link fences, the band emerged as larger-than-life figures ready for war.
The pit was already a whirlwind by Body Bag, which kicked off as Eric demanded a circle pit. Crowd surfers were riding waves of fans before the track even ended. Drummer Gabe Helguera’s kit sat high above the rest, offering a full view of his relentless energy, while the multi-level risers gave every member room to move and interact, creating a visually dynamic performance that never lost momentum.
Self-Destruction had the crowd shouting back, “If you don’t know the devil, then you don’t know me,” while the haunting There’s Fear In Letting Go and their newer single Violent Nature acted as an emotional pivot from the relentless power. Rhythm guitarist Dylan Bowman’s clean vocals and backup harmonies added a powerful contrast to Eric’s growls and screams, a formula that came alive again on Into Hell and Bad Things, showing the band’s evolution toward deeper, more emotionally resonant tracks.
At the halfway mark, the band dazed Toronto with their viral 2014 Taylor Swift cover Blank Space, a fan-favorite moment that ignited a joyful burst of singalongs across the venue. The covert Swifties in the crowd embraced the moment with zero shame as the lyrics sparkled across the screen in bold text.
The energy spiked again during Choke, a track that felt like it drew inspiration from nu-metal titans Limp Bizkit. Eric urged the crowd to throw their fists in the air, promising mayhem with the line “Break your f*cking neck,” and the pit obeyed. It was pure, cathartic chaos.
The connection to the audience was also undeniable. Eric pointed out circle pits forming far out on the lawns, and even took a moment to ask how many were first-timers versus longtime fans. The roar of the crowd made it impossible to distinguish. In a heartfelt moment, he honoured Dave Shapiro as a “legend”, crediting him as the force behind Summer of Loud. The band dedicated Hurricane to his memory, inviting the crowd to sing along so that “wherever he is, Dave can hear it.” As smoke rolled over the stage and caught the glow of the setting sun, I’m not sure if it could get more cinematic than that for this homage to a friend.
I Prevail closed the set with Gasoline, a thunderous finale that turned the entire venue into a roaring storm of devil horns, flames, and headbangers that “burned it all down” like the lyric. It also didn’t hurt that they held back the final part of the song just to let the crowd cheer and say that what they do in the last 3 minutes is “completely up to you” before launching back into they track’s nuclear outro. Their set was a masterclass in balancing aggression, emotion, and spectacle and it really cemented exactly why they were one of the tour’s headliners.
PARKWAY DRIVE
If you could hear a stage crack in half, that’s what Parkway Drive’s entrance sounded like. As thick smoke and epic cinematic music flooded Budweiser Stage, it felt like a superhero moment was about to unfold. And in a way, it did. The Byron Bay legends brought their signature theatricality and muscle to Toronto knowing that few can match their scope and power in metalcore.
With a grand stage setup that echoed their legendary “20 Years of Parkway Drive” homecoming show in Australia, the band constructed a post-apocalyptic visual world. Large broken industrial beams loomed behind them, set against a backdrop of rubble and decay. It gave the night a gritty, world-ending atmosphere which seemed appropriate for a band that’s built a career out of rallying against destruction and despair.
Right out of the gate, they launched into Glitch, a ferocious opener that perfectly captured the chaos and calculated aggression Parkway is known for. Lead vocalist Winston McCall came storming out like a man possessed, his bark as deep and raw as ever. At 42, McCall showed no signs of slowing down, commanding the crowd with brutal clarity and physical energy that would humble performers half his age.
The pit exploded during Prey, a stomping anthem with Viking-metal energy. The audience jumped in unison with Winston during the chorus, echoing lines about axes to grind and battles to win. It felt like a war cry. Sleepwalker followed, and with it came a welcomed shift into slower breakdowns and rhythmic grooves. Guitarist Jeff Ling's soloing stood out here, adding melody and lift to the band’s crushing low end. Parkway riffs just stand out in a way, each one carrying a distinct character.
One of the standout moments was Sacred, their newest single and a self-described “wrecking ball of positive energy”. McCall used it to tease what direction their next album may take, layering hope into the chaos in a way that only Parkway can. It’s a promising glimpse into their evolution as a band nearly two decades into their career.
Before launching into Bottom Feeder, Winston took a beat to rally the crowd for the final stretch, challenging everyone to throw not just their hands up, but their feet too (if possible). The set’s tempo never let up, and a brief homage to AC/DC’s Thunderstruck - complete with synchronized clapping - felt like a proud nod to their Aussie rock lineage. The fire towers returned for this one, shooting up in bursts that matched the song’s intensity.
Then came Wild Eyes, the undisputed highlight of the set. Fans screamed the iconic opening riff before the band even struck a note. The singalong “OHHHs” echoed from the pit to the lawn, smartphones flying into the air to capture the moment. The acapella ending with the crowd was communal and cathartic which felt like everything Parkway Drive stands for.
And just when it seemed like they had peaked, Crushed delivered the knockout punch. The fire effects were at their most intense (I can’t stress this enough), and as if to drive the moment into metal history, the band literally flipped their drummer. Complete with a drum solo from “Gaz” Gordon, the drum kit spun upside down, flames blazing around it in a moment of sheer spectacle for ticket holders of this tour.
Parkway Drive created an experience for the Toronto crowd and thanked them for it. With 20 years under their belts and still out there stretching their music to new fans, it’s not hard to see why their presence in metalcore remains towering. They proved they still have more to say, more to give, and can outwork a lot of bands out there.
BEARTOOTH
The way they showed up to Budweiser Stage, it was like Beartooth arrived with a mission to deliver the most explosive, unhinged, and heartfelt show of their career. Frontman Caleb Shomo promised early on that this would be the “craziest Beartooth show of all f*cking time,” and the band followed through with full force.
The stage design was more than noticeable but no complaints there. A massive stone-like snake, coiled as the riser for the band and Connor Denis’ drum kit, complete with a bold Beartooth logo carved from the same material. Flames shot across this snake throughout the set and it all felt like a crazy idea that satisfyingly came to fruition.
Right from the start, Shomo gave the crowd four commandments: jump, mosh, sing, and have the best night of your life. The energy ignited with The Lines, a raw and heavy opening track that set the tone. His Freddie Mercury-style “Ey-oh” call-and-responses bookended tracks like ATTN., which channeled a punchy pop-punk feel while still hitting hard with its breakdowns. Guitarist Will Deely’s solos cut clean through the chaos, helping keep momentum high.
Throughout the night, Beartooth’s connection with the crowd was undeniable. Songs like Doubt Me and Might Love Myself had the audience screaming along, fists in the air. Before launching into the latter, Shomo asked, “Who here loves themselves?” before dedicating the track to a special person - “me.” It was a moment of levity and celebration, perfectly aligned with the band’s continued message of self-empowerment. One of the more personal moments came with I Was Alive. Nostalgic visuals of the band’s early days played on the screen including childhood photos, tour memories, even one member in a full Wolverine costume.
The spotlight then shifted to drummer Connor James Denis, introduced by full name as “the greatest drummer alive,” who crushed a tight drum solo before launching into a thunderous section of The Last Riff. The intensity kept rising with You Never Know, which had Caleb dancing with the crowd, tossing his limbs around the stage with reckless abandon while Zach Huston ripped through a solo, and fire blasted from the front of the stage in sync with the music’s peaks.
When Riptide hit, it’s not hard to notice fans explode. Shomo reappeared in a light jacket despite the cooling evening air, giving the song extra and distinct flair. The track was a clear crowd favorite, with bassist Oshie Bichar stepping in with clean vocal harmonies and synchronized jumps that made the entire stage feel alive. Always cool to see a band’s chemistry on full-blast.
Before the final track, Shomo addressed the crowd with heartfelt honesty, apologizing on behalf of American bands who make “too many excuses” for not playing in Toronto enough. He called this one of the best shows he’s ever played in his life and teased a proper Beartooth headlining return to Budweiser Stage. The crowd roared its approval.
They closed with In Between, launched by deafening “OHHHHHS” that shook the venue. Crowd surfers flew in every direction, and the band fed off that collective energy one last time. A final “ey-oh” session from Caleb brought things full circle, with the audience responding like they were tethered to his voice right before being the last member to leave the stage.
A proper signal to the end of the set, the first notes of Randy Newman’s You’ve Got a Friend in Me trickled out from the speakers. Fans stayed to sing along, some with arms over each other’s shoulders, wrapping the entire performance in another warm, nostalgic feeling. It was a bittersweet ending and one that made clear how far Beartooth have come with their fans that got them here.
KILLSWITCH ENGAGE
Killswitch Engage brought a mix of intensity, fun, and appreciation to their Toronto stop on the Summer of Loud tour. It’s their only Canadian date this time around and they made sure it counted.
The show kicked off with the Rush classic "Baba O'Riley" playing through the speakers, and a custom “Toronto, Ontario” graphic on screen, on a stage surrounded by skulls and bones. It’s always nice to see a band find ways to pay homage to the hometown crowd. Then, without warning, Jesse Leach cued the band into Rose of Sharyn and the chaos erupted, with fire already bursting from the stage in the first seconds. The transition from an iconic Canadian rock band into one of metalcore’s beloved acts couldn’t have been more satisfying.
Killswitch’s set leaned into the full spectrum of their career, with tracks like In Due Time hitting hard - literally, as Jesse leaned against the barrier, screaming directly into the front rows early in the set. It wasn’t just about the heavy moments though. The band struck a balance between pit-ready aggression and shared emotion, with songs like “I Am Broken Too” and “The Signal Fire” connecting strongly. When the latter hit, the pyrotechnics fittingly turned up a notch, drawing big reactions from fans reaching all the way to the lawns. In general, it felt like the stage effects got more intense as the show progressed.
Jesse also made time to speak directly to the crowd. Between songs, he reminded everyone to stay united and not fall into the trap of fear-based division. It was a moment that felt honest and grounded, taking the time to share a message of unification over a shared love of music.
Adam Dutkiewicz brought his usual energy and humor, dressed in a “Beer” sweatband, a shirt that said “I’m With Stupid,” and carrying a guitar with a pizza graphic. He asked the crowd to adopt him as an honorary Canadian, leaning into the silliness in a way that never felt forced. His presence, both as a guitarist and hype man, was one of the key reasons the set kept momentum.
They acknowledged this was their only Canadian date and promised to “do better” next time, which got a warm reaction from the crowd. And despite that limitation, it was clear they were glad to be here. Circle pits broke out constantly, even during more melodic sections, and for the non-moshers, yelling back every lyric seemed just as essential.
A few times, Jesse leaned so far over the barrier it looked like he might crowd surf himself. Instead, he smiled and pulled back, clearly enjoying the push and pull between band and audience. During memorable tracks like “My Curse,” “This Is Absolution,” and “The End of Heartache,” you could hear fans singing loud enough to almost drown him out. And they loved every second of it.
As the last band of the show, they closed the night with their classic Dio cover, “Holy Diver,” a choice that never gets old. It was the perfect cap to a set that respected the band’s legacy without feeling stuck in the past. Tight playing, heartfelt messages, fire (literally), as well as a full house made for a show that fans won’t forget and that Killswitch clearly enjoyed delivering.
