Toronto Goes Wild as Falling In Reverse Unleash God Is A Weapon

Over 11,000 fans packed Toronto’s Budweiser Stage for Falling In Reverse’s God Is A Weapon tour. The absence of Slaughter to Prevail, stuck stateside after frontman Alex Terrible’s passport delays, might have slowed a lesser bill. Instead, the night surged forward on the strength of the remaining lineup.

Point North opened at 7 with a charged performance, sharpening their set around “2 Liter Spite,” a punk-edged anthem that already feels made for bigger rooms. Their mix of grit and melody connected quickly with the crowd, with choruses built to echo beyond club walls. They played like a band hungry for more, proving they belong on tours of this size.

Hollywood Undead followed with their usual brand of chaos, but with a looseness that felt communal. A girl barely eight years old was brought on stage for “Comin’ in Hot,” holding devil horns high, and “Everywhere I Go” turned the pit into a playground with beach balls bouncing across the crowd. Their latest single “SAVIOR” added a darker, more personal tone to the set, tackling fame and struggle while showing the band is still exploring new directions.

Before the band took the stage, “Oh, Canada!” played over the speakers. Hearing the crowd sing along made the venue feel alive. At 9 o’clock, Ronnie Radke walked out in a Toronto Maple Leafs Auston Matthews jersey, and the band opened with “Prequel.” Flames shot up during the second song, “Zombified,” and pyro framed nearly every track throughout the set. The massive screen behind the drummer alternated between live shots and music video clips, merging stage and visuals into a striking performance.

Radke, fighting a head cold, worked the stage with a mix of control and unpredictability. He tossed his microphone into the air, caught it clean on the down beat, then prowled the catwalk as chants of “Ronnie Ronnie Ronnie” rippled across the venue. For “No Fear,” he and bassist Tyler Burgess moved through the crowd, high fiving and fist pumping fans, even stopping mid song for a selfie with a young kid who beamed like they had just been handed the world.

Not everything was heavy. “Just Like You” came with a side of mischief, split screens on the giant backdrop labeled Ass Cam 1 (the fans) and Ass Cam 2 (Radke), The setup matched the song’s lyrics, which openly admit his flaws and bad behavior while inviting the audience to see him as human, just like them. Later, the unsettling puppet “Donnie” appeared during “Ronald,” a strange but oddly magnetic theatrical touch.

“Popular Monster” turned the venue into a sea of phone lights, glowing like fireflies. “Watch the World Burn” closed the set, and as fans began leaving, Queen’s “We Are the Champions” played over the speakers, closing the night on a triumphant note.

Slaughter to Prevail’s roar was missed, but their promise to return in Spring 2026 kept the night free of disappointment. What Toronto got instead was a spectacle that mixed fire, humor, and confrontation. Not polished, not safe, something better. A night that belonged to Ronnie Radke’s vision, messy and magnetic, impossible to ignore.

A huge thanks to Taylor from AtomSplitterPR for the accreditation.

Falling In Reverse

Hollywood Undead

Point North

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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.