Static-X Brings Evil Disco Into the Future on a Night of Blood and Mayhem in Toronto

What happens when you bring together four bands built on sweat, spectacle, and sonic destruction? HISTORY Toronto got the answer on June 9th as the Machines Vs Monsters Tour unleashed its fury in front of a crowd of 1,400 metal-hungry fans. Featuring the ever-ascending A Killer’s Confession, the industrial veterans Dope, shock-metal legends GWAR, and the resurrected firestorm that is Static-X, this show was an immersive combat zone of music, masks, moshing, and surfing.

Doors opened at 5:30, and by the time A Killer’s Confession hit the stage at 6:30, the pit was already hungry. Waylon Reavis delivered a set steeped in sonic heaviness and personal catharsis, fully immersed in his shadowy, masked persona. Tracks like “Greed,” “Filth,” and the latest single “Hollow” hit hard. The moment he yelled that he’d be taking pictures with “all you motherfuckers” at the merch table, it felt less like a sales pitch and more like a battle cry. Their take on “Qwerty” (a Mushroomhead nod) stirred the first full-pit moment of the night, and they never let go after that.

Dope followed at 7:15 with a tight, high-octane set that delivered crowd-surfing and sarcasm in equal doses. Frontman Edsel Dope, maskless and wired, joked he was “the only face you’ll see tonight,” before launching into “Debonaire” and “Die, Boom, Bang, Burn.” Their cover of “You Spin Me Round” may have been the most ironic moment of the night, sandwiched between head-crushers like “Bitch” and “Blood Money.” Edsel also gave a shoutout to the hardworking security team for catching wave after wave of surfers — a theme that would become critical as the night progressed.

Then came the blood. GWAR, in all their grotesque, operatic glory, opened at 8:15 with “Fuck This Place” — which should honestly be re-titled “Soak This Crowd.” Gallons of red fluid launched across the first few rows instantly. Heads were severed (props), bellies were ripped open (Trump), Swifties weren’t spared either (Swiftspawn), and the band’s gory theatrics turned the venue into a splatter zone. Fans came prepared — ski goggles, towels, and even a tribute photo of a deceased friend taped to the front barricade, ensuring he too got sprayed in spirit. GWAR doesn’t just play songs like “Gor-Gor” or “Sick of You.” They summon them like rituals. They bring chaos. They bring art. They bring blood, and the crowd begged for every drop.

By the time Static-X took the stage at 9:45, the room was soaked, sweat-drenched, and vibrating. And then came the machine. From the opening blast of “I Want to Fucking Break It,” the band unleashed a coordinated assault of LED screens, vertical visual towers, swirling smoke, drifting bubbles—and capped the night by sending a dozen beach balls bouncing into the crowd. Xer0 fronted the group with an unrelenting intensity, flanked by the always kinetic Koichi Fukuda and Tony Campos. Behind them, Ken Jay held it down from his elevated riser, central to the band’s precision. Songs from Project Regeneration: Vol. 2 like “Z0mbie” meshed seamlessly with classics like “Push It,” “Cold,” and “Wisconsin Death Trip.” By the time “I’m With Stupid” landed, the audience was still surfing — relentless, joyful, and blood-soaked.

Every band brought something unique. Every moment felt like it mattered. From the newbie adrenaline of A Killer’s Confession to GWAR’s operatic chaos to Static-X’s industrial vision and Dope’s snarky swagger, this wasn’t a greatest-hits night. It was a multi-sensory pummeling. Fans raged. Security soared — literally, catching endless waves of bodies. Theatrics collided with musicianship. And on a Monday night—no small feat for a workweek—the Toronto crowd showed up and made it one of the most unforgettable metal shows of the year.

Thank you to Mahlet Sintayehu from Live Nation for the accreditation.

Static X

GWAR

Dope

A Killers Confession

Fans

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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.