This year’s edition of Osheaga – its nineteenth since its inception, accounting for two missed COVID years – was a powerhouse on all fronts, with fantastic performances from artists spanning genres, efficient organizing, and, happiest of all, a friendly, exuberant crowd, just as quick to lend a hand as to sing along when there’s a mic pointed in their direction.

Day 1 (Friday, August 1) started off with a bang, with killer performances from headliner The Killers – who launched their show with a blazingly hot rendition of “Mr. Brightside” – and an impressive turn from their de facto opener Glass Animals, whose “Heat Waves” was the first of many, many singalongs across the weekend.

Other highlights from opening day included the Beast Boys-like Joey Valence & Brae (“No Hands” is a banger), Lucy Dacus (who also cameoed on The Killers’ “Read My Mind”), and this summer’s hip hop It Girl, Doechii. Day 1 was also our first experience of the rightly acclaimed Osheaga logistics: between helpful security guards and plentiful signage, it was quick and easy to navigate the grounds (before and after), and we never felt like we were ever more than a few steps from a washroom facility, water fountain, or sweet, sweet swag booth to scoop up some merch.

Day 2 (Saturday, August 2) was a case study for the diversity of Osheaga programming, ranging from popstar/influencer Alex Warren (you know him from “Ordinary”) to Tommy Richman (who got TikTok famous with “Million Dollar Baby” last year) to Kaleo, whose “Way Down We Go” is the best non-Hozier Hozier song we’ve ever heard.

Other Saturday highlights included Shaboozey (who played “Tipsy” twice because why the heck not) and Future Islands, whose lead singer Sam Herring had the single-best stage presence of any artist of the weekend, delighting audiences with his evocative, enthusiastic, Joe Cocker-like dance moves. (“Seasons (Waiting on You)” was met with huge applause.)

Saturday’s biggest gets, however, were reserved for the primetime slots, with Gen Z icon Gracie Abrams (daughter of J.J.) winning over the crowd at the main “Mountain Stage” while The Chainsmokers (whose set was sadly curtailed by a thunderstorm) dominated the “Valley Stage” further into the grounds. Tyler, The Creator’s packed finale at the River Stage closed out the night in style.

Day 3 (Saturday, August 3) saved, if not the best for last, certainly the highest-profile of the weekend, with Olivia Rodrigo closing out the festivities with an energetic, scream- (and tear-)inducing set that drew the largest, and youngest, crowd we’d seen.

But before Rodrigo could take the stage, “vampire” and all, festivalgoers were treated to an incredible mix of final day acts, from Toronto’s own The Beaches (“Blame Brett”) to electronica artist Chet Faker (“Drop the Game”). And for those, like us, who dared abandon Rodrigo mid-set to go check out the happenings over at the “Forest Stage”, there was much fun – and love – to be found at the dance-happy Jamie xx set, which officially closed out the festival as the final performance of Sunday night.

Aside from the music, we were delighted by how well everything worked this Osheaga. From the plentiful water stations where it was easy to refill bottles and stay hydrated, to the efficient security checks, to the even more efficient organizing – seriously, every performance somehow managed to magically start exactly on time, avoiding any domino effect delays – to the great (not just poutine) food options, we were consistently impressed. Impressive too was the diversity of the audience, Osheaga bringing together people of all ages and backgrounds – including some very adorable, far too hip children (Under-10 admission remains free!) joining in the fun. Honestly, we hear too many horror stories of festivals gone wrong or unpleasant, but perhaps it’s just the Canada of it all: Osheaga was genuinely a lovely experience.

With rumors already flying about potential headliners for next year, we’re already getting excited for our return.

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Stay tuned for all things Osheaga, including early bird tickets now on sale for Osheaga 2026, at the official festival website.

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The big draws this year represent an eclectic mix of genres and eras, including The Killers, The Chainsmokers, Glass Animals, Gracie Abrams, Olivia Rodrigo, and Tyler, the Creator. The festival ends the Sunday night of a long weekend, so festivalgoers can rest easy, nursing their post-musical overload hangovers. Of the “lesser” but no less impressive names, we’re most excited to catch Grammy and Academy Award Winner Finneas (he co-wrote “Bad Guy” and “No Time to Die” with his sister Billie Eilish), Future Islands, and Kaleo. Canadian stars this year include Hologramme, Group Project, Béli, The Beaches, Ekkstacy, Aqyila, and Ruby Waters.

OSHEAGA takes place at Parc Jean-Drapeau, located on Saint Helen’s Island, close to downtown Montreal. The OSHEAGA festival site will be open from 1 p.m. to 11 p.m. each day. Much of the fun happens outdoors, dress (and pack!) appropriately. Fans should also be ready to check out much more than the concerts. Amusements – like an on-site Ferris Wheel – will be available to pass the time during your inter-concert decompression, while there will be plenty of vendors – food, merch and arts and crafts – to check out. As in previous years, Osheaga will also host art installations and exhibits from Canadian artists, ranging from muralist Franco Égalité to “wearables” artist Maria Qamar.

Friday kicks off with headliners The Killers, Glass Animals, Doechii, Dominic Fike, and Lucy Dacus, plus performances by Finneas, Jorja Smith, Barry Can’t Swim, Artemas, James Hype, and Nico Moreno. Other notable Friday shows include Damiano David, Omah Lay, La Femme, The Struts, Joey Valence & Brae, Salute, and Funk Tribu.

Saturday features a heady mix of genre superstars, from Tyler, The Creator to Gracie Abrams to The Chainsmokers to 2024 hitmaker Shaboozey. Other Saturday acts include Lost Frequencies, Kaleo, TV on the Radio, bbno$, Samy Virji, and Future Islands, along with Smino, Tommy Richman, Claude VonStroke, Good Neighbours, Naomi Sharon, Adam Ten, and Whitney, among others.

Sunday wraps up with Olivia Rodrigo, Cage The Elephant, Jamie xx, Royel Otis, and The Beaches, plus performances by Chet Faker, ISOxo, Marina, Gigi Perez, Amaarae, and Mark Ambor. Additional highlights include BigXthaPlug, Bossman Dlow, The Dare, Jersey, Oden & Fatzo, Ruby Waters, Inji, and more.

In keeping with the festival’s commitment to sustainability, Osheaga will offer plentiful transport options for festivalgoers, whether you’re a full-dayer or just checking out individual shows. You can get to Parc Jean-Drapeau by car, bike, ferry, bus, metro or on foot. We recommend taking the yellow line of the STM’s metro system from the Berri-UQAM station to the Jean-Drapeau station, which is right next to the festival site. Biking is always an option; just don’t pass out from exhaustion if you’re heading back after the closing performance!

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For everything Osheaga, including tickets and full-day schedules, check out the festival website.

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Originally posted on Montrèal Guardian

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At Toronto Fringe, all ticket revenue is returned directly to the artists, the festival itself only keeping enough in fees to cover its staff and box office system. Inspired by the Edinburgh Fringe, the Toronto Fringe has quietly earned a reputation for impressive shows, which often go on to earn full-staged productions on major stages across Canada and worldwide. Past favourites include the hilarious Jaws parody/homage Giant Killer Shark: The Musical and Atomic Vaudeville’s moving, off-kilter Ride the Cyclone.

The humble annual festival has similarly been the proving ground for a decent number of hits, ranging from the Tony Award-winning The Drowsy Chaperone (1999), which started off as essentially a private joke between Bob Martin and Don McKellar, to Boy Falls From the Sky (2019), Jake Epstein’s delightful one-man show describing the ups and downs of life as a would-be Broadway star. Kim’s Convenience (2011) was a “Patron’s Pick” before making its way to television and many, many, repeat productions nationwide.

As the Festival wraps up, all eyes are on this year’s “Best of Fringe”, where many a show – and audience member – hope to find the next Kim’s Convenience or Drowsy Chaperone. Best of Fringe is a three-day, jury-selected showcase running July 18 to 20 at the Meridian Arts Centre in North York. The programme features five boundary-pushing, crowd-winning shows handpicked by jury from over 100 Fringe performances – an opportunity to catch again the shows you loved from the Fest, or to experience them before they disappear (possibly forever!).

Individual tickets are $25 and are now on sale. Details below, recaps courtesy the Festival:

David Lynch’s Seinfeld (Goop2 Productions). Written and directed by Paul Aihoshi, Guy Bradford, Colin Sharpe.

An original episode of Seinfeld that descends into a Lynchian nightmare. Starring a cast of current and former members of the Second City, the Sketchersons, and the Bad Dog Theatre Company, comes a surreal reimagining of Seinfeld through the dreamlike, disturbing lens of David Lynch.

Iris (says goodbye) (Mixtape Projects). Music and lyrics by Ben Kopp; book by Margot Greve.

A haunting, bittersweet original musical about memory, farewells, and the liminal space between dreams and letting go. In a giant, endless airport where souls await their final departure, Iris has been granted the rare opportunity to return to earth and live another life. Each night, audience members will determine Iris’s journey by selecting eight acts of 20 to be performed in the order they are selected—meaning every night is a completely unique performance!

My Pet Lizard, Liz: The Shakespearean Existential Crisis That Led to his Ultimate Demise (The Lost Scribe Collective). Written and performed by Shaharah “Gaz” Gaznabbi.

When an out-of-work actor pours his heart—and Shakespeare monologues—into his beloved pet lizard, things take a turn for the existential. Part one-person show, part tragicomedy, and 100% absurd, this hilariously heartfelt story explores grief, burnout, and what happens when your emotional support animal starts having an emotional crisis of his own.

Playground, A New Family Musical (Catchy Tune). Music and Lyric by Jack Grunsky
Story created by Olivia Daniels, Elly Barlin-Daniels and Amanda Freedman

Based on the songs of Juno Award-winning children’s singer-songwriter Jack Grunsky and suitable for children four to 12, Playground is a joyful family musical performed by an intergenerational cast aged 20 to 80, including veteran performer Joe Matheson.

Things My Dad Kept (Mom & Pop Productions). Written and performed by Ronit Rubinstein.

A touching solo piece about memory, love, and the unexpected ways we carry those we’ve lost. After discovering her dad had kept everything she ever made—from childhood drawings to stories—she begins to unpack not just objects, but the life they represent. While often funny, it’s not a comedy; it’s a beautiful, deeply relatable exploration of grief, connection, and the stories we tell to keep people alive

PERFORMANCE SCHEDULE

Friday, July 18:
7 pm – Iris (says goodbye)
9:30 pm – David Lynch’s Seinfeld

Saturday, July 19:
12 pm – David Lynch’s Seinfeld
2:30 pm – My Pet Lizard, Liz: The Shakespearean Existential Crisis That Led to his Ultimate Demise
6 pm – Playground
8:30 pm – Things My Dad Kept

Sunday, July 20:
12 pm – Playground
2:30 pm – Things My Dad Kept
6 pm – My Pet Lizard, Liz: The Shakespearean Existential Crisis That Led to his Ultimate Demise
8:30 pm – Iris (says goodbye)

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Tickets are available online at www.tolive.com, by phone at 416-366-7723 and 1-800-708-6754, and in person at the Meridian Hall box office (1 Front Street East) and the Meridian Arts Centre box office (5040 Yonge Street), Monday to Friday, 1 pm to 6 pm.

TO Live box office phone and email support operates 1 pm to 6 pm Monday to Friday. Online sales operate 24 hours a day.

The post Toronto Fringe “Best Of” Showcases the Best (and Oddest) of the Annual Festival appeared first on Toronto Guardian.

From May 13–17, head over to Daniels Spectrum community cultural hub in Toronto’s Regent Park neighbourhood to catch five exciting days of youth-led theatre, music, dance, and more. This year’s lineup includes original plays, a musical, spoken word, a drag show, and even a Paprika Prom to finish the festival with a fun celebration of Toronto performing arts!

All shows are free or pay-what-you-can, so there’s no excuse not to come and support young talent in your city.

What Is Paprika Festival?

Paprika Festival has been a launchpad and talent incubator for young artists in the GTA for over 20 years. It’s more than just a yearly festival — it’s a training ground and creative space where young people (ages 18+) work with professional mentors, join paid programs, and create brand-new performances from scratch with expert input and guidance. 

Each spring, the festival brings together work developed in Paprika’s programs. This year, the festival features artists from:

• Indigenous Arts
• Creators Unit
• Creative Producers

These programs help emerging artists write, direct, perform, and produce shows — with real support and funding along the way.

Why Go to Paprika Festival?

Thinking about a career in the arts? Wondering where to start? Paprika is for anyone who’s full of ideas but needs support, connections, and a place to grow. Whether you’re in high school, post-secondary, or figuring things out in between, Paprika is a great way to meet other creatives and see what’s possible in Toronto. 

Paprika is where new stories start, stars are born, and fresh perspectives lead the way. Even if you’re not ready to apply to a Paprika program just yet, coming to the festival in May can be the spark that sets your next creative goal in motion.

Who Should Apply to Paprika?

Are you writing jokes in your notes app? Filming narrative videos on your phone? Dreaming about making theatre but not sure where to start? This is your sign to check out Paprika.

The festival is open to young performance artists of all backgrounds — and if you’re selected for a program, Paprika is in a position to support you with mentorship, production help, and even a budget to create a show.

Whether you want to write, choreograph, perform, or produce, there’s room for your voice and your vision.

Save the Dates!
May 13–17, 2025

Daniels Spectrum building at 585 Dundas Street East, Toronto

To see the full festival schedule and learn more about applying to one of Paprika’s six programs, visit the Paprika Festival website.

Support young artists. Get inspired. Be part of something fresh. 

The post Paprika Festival 2025: Toronto’s Young Creatives Take the Stage! appeared first on Toronto Guardian.

Describe your charity/non-profit/volunteer work in a few sentences.

At The Word On The Street Toronto, we work to champion reading and writing in Canada through a free annual festival and year-round literary programming that spotlights storytellers, fosters community, and promotes literacy, with a specific focus on showcasing Indigenous and Canadian creators. We create an experience where artists can share their labours of love with the world, and where readers and writers of all walks of life can connect. Through the many author talks, readings, workshops, and activities that we program, plus our vibrant open-air book marketplace, we hope to fuel a lifelong love of reading in Canadians for many generations to come!

What problem does it aim to solve?

Literacy is a powerful skill in our modern world—from news articles to novels to bank statements, it’s crucial that Canadians feel fluent and comfortable in the written word. There are many pathways to that fluency, but one of them is through fostering a genuine love of reading. That’s what we aim to do at WOTS. We want to provide high-quality literary events at no cost to attendees, to keep literature accessible to the public. It’s our hope that by engaging with stories they love, Canadians can find empowerment through literacy, whether they’re young or old.

Another problem we aim to solve is the relative lack of exposure for Indigenous and Canadian writers. Despite the hundreds of thousands of incredible artists who call Canada home, the average Canadian’s bookshelf is populated largely with American and international authors. This was especially true back when WOTS was founded 35 years ago. We’ve seen great progress in three and a half decades, but The Word On The Street is still one of the only arts festivals that invites 100% Indigenous and Canadian presenters onto its stages. We’re passionate about this responsibility—we want our local creators to feel uplifted by their communities and for the stories they are telling to be heard.

When did you start/join it?

The Word On The Street Toronto was founded in 1989, for the International Year of Literacy. I became part of the team in 2019, just in time for the organization’s 30-year anniversary. It’s very cool to now be coming up on another big milestone: this September is WOTS’ 35th!

What made you want to get involved?

I was one of those kids who had books instead of friends growing up. Books taught me courage, empathy, curiosity, determination, and so much more. As an adult, giving my energy back to the artform that raised me just makes sense.

I used to think I wanted to work in publishing, as an editor or agent or something similar, but my gosh am I happy I ended up here. There’s something really special about being “book-adjacent”, as I like to say: it’s actually quite emotional. Authors work hard, often all alone, to make a beautiful piece of art. As the Director of Programming, I love being able to hold up a mirror to them and say, Look at you! Look at what you made! We’re so proud of you! Come be celebrated!

What was the situation like when you started?

As I mentioned, I first started at WOTS during the organization’s 30th anniversary. That was a big year. We had a massive audience turnout, lots of very well-established authors speaking onstage, even a bilingual spelling bee! There was every reason to think the festival would keep rolling on, bigger and better every year.

Then the next year was 2020, the first year of the global pandemic. We know how that turned out for public events. For two years, WOTS went fully virtual: we learned how to become digital producers in addition to the rest of our job descriptions. It was an intense pivot. I’m glad we did it because we were still able to provide a place for readers to connect to authors, and for authors to showcase their work. But there are certain things you just cannot achieve as a street festival without a street—for instance, we couldn’t put together our marketplace, which usually houses over a hundred booksellers, publishers, literacy organizations, and more. For all we learned about resourcefulness and accessibility, we also lost a lot of connections in those years.

How has it changed since?

Two years of peak pandemic conditions forced us to re-evaluate our entire strategy—so a lot has changed! We’ve expanded from a one-day event to a two-day, all-weekend festival. We’ve moved our festival site away from Harbourfront Centre and back to Queen’s Park Circle (where WOTS used to be before I started working here). We even tried shifting seasons for a minute: the 2022 and 2023 editions of WOTS happened around May/June, but ultimately we’ve decided that September loves us best.

Aside from these crunchy logistical pieces, there’s also been a shift in tone at the festival. The programming used to lean very heavily on what we call “literary fiction”, with limited room for commercial genres like mystery, romance, or science fiction. Every year of my tenure with WOTS, we’ve moved to equalize that program a little more. Now we’re proud to showcase entire panels of romance, horror, and other much-beloved genres right alongside literary novels, poetry, and non-fiction. This is in direct response to our audiences clamouring for this kind of programming. Since we’re here to foster a love of reading, it only makes sense to create space for the kind of stories people are eager to read!

What more needs to be done?

As with so many nonprofits, the work never ends. Child literacy rates have been significantly impacted as a result of the inconsistent education they received during the COVID-19 years; we’re seeing some really concerning trends with kids struggling to read at their grade levels. We aim to play a part in boosting those literacy skills, by introducing children to exciting books that can help them build confidence in their reading.

Meanwhile, backstage, the organization itself is still recovering from the financial impacts of COVID. Hard costs like erecting stages and tents are only increasing, and the relief funds that were meant to keep organizations afloat during the worst of the pandemic have all but ended now. We’re experiencing the long-term repercussions of a couple of years being thrown off-balance. It’s requiring some pretty awesome transformation on our end to recuperate with grace.

Lastly, on a personal note, I want to see The Word On The Street give some love to non-English storytelling. Remember that bilingual spelling bee I mentioned? As a French speaker, I’m passionate about creating space for Francophone literature to thrive here. And as a language learner, I want to expand beyond the “official” languages of Canada and into a deeper sense of multilingualism at the festival. It’s a hefty undertaking—but I dream of what we could accomplish together. Allons-y!

How can our readers help?

One of the most impactful ways you can help The Word On The Street is by donating. It costs money to put on a free event, especially one on this scale. We recently launched Loonie for WOTS, a call to book lovers everywhere to help raise $107,676 before our festival weekend. 107,676 is (more or less) the number of WOTS attendees we’re expecting to hit the streets this year—the idea is, that if everyone who loves & cares for this festival donated literally one dollar, we would be able to place the financial impact of COVID firmly behind us, and be able to open a new chapter, so to speak. We encourage people to donate now through our website and CanadaHelps page, but please know that we will also be accepting donations on-site at the festival!

Another way you can help is by—well, getting the word on the street about The Word On The Street. We’ve planned a literary celebration of over 100 authors, and we want people to come attend the party. Tell your bookish friends, family, neighbours, coworkers, people you meet at the dog park. Tell everyone! And then come down to Queen’s Park yourself, and enjoy what we’ve made for you.

Do you have any events coming up?

Our free annual festival is right around the corner! On September 28th and 29th, The Word On The Street Toronto will be filling the street around Queen’s Park with books, discussion, laughter, and community. We have over 100 authors confirmed, including Canisia Lubrin, Drew Hayden Taylor, Catherine Hernandez, Kenneth Oppel, and more! You can find our full schedule on our website, and receive updates through our newsletter and social media @torontowots.

Where can we follow you?

Instagram | TikTok | Website | Newsletter

PAY IT FORWARD: What is an awesome local charity that you love?

Book Clubs For Inmates is a charity whose mission is to organize volunteer-led book clubs within federal penitentiaries across Canada—currently, they have over 40 book clubs up and running, from Nova Scotia to British Columbia. I think the work they do is deeply meaningful and reflects the kind of compassion and curiosity I want to see in Canadian society. BCFI will have an info booth at WOTS this September, so please stop by and learn more!

The post Charitable Choices: Sienna Tristen of Word On The Street Toronto appeared first on Toronto Guardian.