Movements and Citizen Shake Up HISTORY Toronto with Explosive Performances

Movements brought their signature blend of post-hardcore and emo to HISTORY in Toronto, delivering a night that blurred the line between raw emotion and high-energy catharsis. The crowd—mostly in their late twenties to early thirties—packed in tightly, proving that while the venue wasn’t at full capacity, the energy in the room more than made up for it. Fans traveled from as far as Ottawa and Buffalo, making it clear that Movements’ reach extends far beyond the city limits.

Before the headliners took the stage, the night built up intensity through a stacked lineup. Downward set the mood with their melancholic, grunge-infused sound, pulling the early crowd into a hypnotic sway. Scowl turned that calm into chaos, igniting the first wave of crowd surfers with their ferocious punk energy. Frontwoman Kat Moss commanded the stage, giving the crowd a taste of their upcoming album, Are We All Angels, out April 4th. Then came Citizen, effortlessly blending grit and melody, with the audience screaming every word to “The Night I Drove Alone.” Their sound has evolved, but their ability to connect with fans remains unchanged—whether through their heavier cuts or the melancholic nostalgia of “Speaking With a Ghost.”

By the time Movements stepped onto the stage at 10:10 PM, the anticipation was thick. The setup was minimal but effective—a wide platform at the back housed the drummer on the right, the bassist on the left, while the two guitarists flanked vocalist Patrick Miranda at the front. As the first notes of “Afraid to Die” rang out, the room erupted. Fans surged forward, arms raised, voices colliding with Miranda’s as if these songs were sacred mantras.

The set was a carefully crafted mix of their discography, including standout tracks from their latest album, RUCKUS!. The night felt like a constant push and pull between brooding introspection and unrelenting aggression. “Colorblind” hit with the weight of old wounds reopening, while “Kept” wrapped the room in a suffocating wave of emotion. Then, just as the energy seemed to plateau, Patrick demanded more. “Toronto, you’re at a 7.3—I need you at a 10!” The band launched into “Full Circle,” and the room obeyed, bodies colliding in a frenzy of movement.

One of the night’s most chaotic moments came during “I Hope You Choke!,” when Patrick orchestrated a wall of death, splitting the crowd like the Red Sea before bodies crashed together in a euphoric explosion. Despite the sheer intensity, there was an undercurrent of camaraderie—security and paramedics received a shoutout for keeping everyone safe, reinforcing that Movements’ shows are as much about shared emotion as they are about reckless abandon.

Beyond the music, Movements brought a personal touch. Patrick told the crowd about their ongoing raffle—anyone who purchases Funpack No.7 at the merch table gets a chance to win free entry to any Movements show in their city, forever. It’s a rare gesture, one that speaks to the band’s appreciation for their fans’ unwavering support.

As the set wound down, the last song of the night, “Daylily,” turned the venue into a choir. There was no divide between stage and audience—just hundreds of voices, intertwined in a moment of collective release. The final notes faded, but the energy lingered, leaving Toronto with a night that felt less like a concert and more like a cathartic ritual.

A huge thanks to Bernice from Looters for the accreditation—shooting the show was an absolute blast!

Movements

Citizen

Scowl

Downward

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Drew Osborne

I’m Drew, the founder and editor of Front of the Stage. I have a strong love for music and photography, which started at a very young age. There’s just something I love about experiencing live music and capturing memories that will last a lifetime, and that’s how Front of the Stage came to be.