EST 1917
Collective Concerts Presents
Cate Le Bon stands at the intersection of spectral folk, art-pop intrigue, and restless sonic ambition. Across seven solo albums, she has built a singular voice that seems to drift in half-light, part oracle, part guitarist coaxing colors from chords. On Me Oh My she unfolded a modest palette of folk intimacy; by Cyrk she bent her melodies into psych-pop loops and unexpected detours. Mug Museum pared things down, letting space amplify what lingers, what mourns, what hums underneath. With Crab Day she leaned into ambiguity, weaving off-kilter riffs and lyrical frays that refract meaning. Reward felt like a leap, bringing richer textures and sharper turns, with voice and instruments turning on one another and pulling the listener into a tighter orbit. Then Pompeii arrived as an incandescent excavation of her own interior, where synths glint like mirrors and guitars ripple in shifting light. Her newest record, Michelangelo Dying, channels heartbreak, obsession, and rebirth. It is an album steeped in tension, love as erosion, sorrow as method, in which she produces, arranges, and performs with full reckoning. Through it all, she moves with an unflinching gaze. Her songs linger between the seen and unseen, the personal and the mythic. Her production work for Wilco, Horsegirl, and Devendra Banhart underscores a restless curiosity. To hear Cate Le Bon live is to feel the air charged, guitar strings vibrating like stained glass, voices faltering and returning, the fragile engine of creation humming just beneath.
January 20 2026
19+
Doors at 10:00AM
$48.50
MODO-LIVE Presents
Step into the world of Heated Rivalry for a dance party inspired by the show’s explosive energy, fierce competition, and undeniable chemistry. This night brings the rivalry off the stage and onto the dance floor where passion, movement, and music collide.
Expect high-intensity beats, dramatic moments, and a crowd fuled by the same tension and fire that define the show. Whether you’re channeling one side of the rivalry, reliving your favourite moments, or just ready to dance it out, this is your chance to be part of the experience!
January 30 2026
19+
Doors at 10:00PM
$23.26
MRG Live Presents
Maanu emerged from the streets of Lahore with a compass made of melody and memory. Raised in the city’s restless pulse of pop and underground hip-hop, he learned piano and guitar before his first public cadence ever dropped. Over years of writing and producing he sharpened his voice into something both intimate and expansive. His record Yain City marked a beginning in 2020—a collection of songs marrying Urdu and Punjabi lyricism to modern R&B and hip-hop textures. From there, Maanu moved through single after single, expanding his reach and deepening his sound. The breakthrough moment came with the duet Jhol—a raw, heartbreak-laced anthem that pushed him into the mainstream while retaining his indie edge. His latest album Thikaana (2025) places him at the junction of love ballad and streetwise rap, anchored by rich production and bold collaborations. In each song he holds a mirror up to his generation: restless, searching, anchored to place yet itching for flight. Live he commands the stage with an edge—leaning into rap flows one moment, soaring into melodic choruses the next, all the while rooted in a distinct Pakistani sound. His lyrics scratch at longing, belonging, the ache of youth. Maanu’s signature style lies in that tension: the blend of city grit and soulful vulnerability, pop polish and street honesty. For fans who live in the space between tradition and tomorrow, Maanu offers both soundtrack and mirror.
February 14 2026
All Ages
Doors at 7:00PM
Collective Concerts Presents
Gary Numan exploded into the music world as a teenager, seeding a blueprint for electronic rebels to come. With his roots in Tubeway Army and the groundbreaking album Replicas, he imagined steel cities and machine souls long before the genre had a name.
In 1979 the solo leap delivered The Pleasure Principle, a cold, neon-lit manifesto of synthesizers over guitars, anchored by the massive hit “Cars.” From there Numan refused to stand still. He slipped beneath pop’s surface into stark industrial textures, gothic electronics, and dystopian rock-guitar drama. Audiences came to recognise his ability to shift sonic ground while retaining a voice that sounded alone in a crowded room.
As the decades unfolded, his albums moved from the minimalist future shock of the early eighties into the darker terrain of the 2000s and beyond. With records like Pure he embraced a metallic edge; with Splinter (Songs from a Broken Mind) he carved into the psyche of decay and resistance. His 2017 comeback peak Savage (Songs from a Broken World) struck a chord with its post-apocalyptic vision and sonic focus, reaching new generations of listeners.
Today Gary Numan stands unbowed, a veteran who still speaks in chord sequences, visual tableaux, and industrial shadows. His trademark blend of analogue synth darkness, propulsive rhythm, and a voice that sounds locked inside its own circuitry remains compelling. For a live gig, expect strobes imperious as machine minds, basslines carved from steel, and the unmistakable figure of a man in control of the machine and yet still human.
March 24 2026
19+
Doors at 7:00PM
$39.50
Not Dead Yet Presents
Geordie Greep is a London based musician whose work moves with nervous energy and deliberate craft. First emerging as the frontman and lead guitarist of Black Midi, Greep became known for performances that felt volatile and precise at the same time. His guitar lines coil and snap, his voice shifts from conversational murmur to theatrical intensity, and his writing favors characters and scenes over abstraction. With Black Midi, he helped create a body of work that pushed post punk and experimental rock into sharper, stranger territory.
In 2024, Greep released his first solo album, The New Sound, revealing a broader and more personal musical language. The record pulls from blues, jazz, samba, Latin pop, and progressive rock, stitched together with a restless sense of rhythm and structure. Songs unfold like short stories, filled with flawed narrators, crooked humor, and emotional tension. Greep’s guitar work moves fluidly between angular attack and melodic patience, while the arrangements leave space for groove, swing, and sudden turns.
His solo material does not abandon the intensity of his earlier work. Instead, it reframes it through richer harmony and deeper rhythmic feel. There is a sense of risk in every performance, paired with a clear command of form and tone. On stage, Greep leads with focus and presence, drawing listeners into a sound that feels alive and unsettled in the best way. His music reflects a musician in motion, expanding his voice while staying rooted in instinct and momentum.
March 30 2026
19+
Doors at 7:00PM
$42.33
Collective Concerts Presents
Alice Phoebe Lou emerged from the sidewalks of Berlin carrying a guitar and a carry-on full of hope. Born in Kommetjie on the coast of South Africa, she set down roots in Berlin while her voice took flight. With her debut album Orbit she planted a marker: folk-tinged, breathy, restless. Her second record Paper Castles embraced broader textures, with synth washes, guitars that shimmer, and lyrics wrestling with intimate truths and vast skies. In Glow she leaned into light and shadow, her songs gliding between jazz warmth and electronic edges. With Child’s Play she peeled back everything, letting the raw voice speak, chords simple but direct. Her most recent studio album Shelter felt like a home-coming, atmospheric and grounded, filled with songs that hold you close and then push you out into the night.
Her sound is not bound by genre but shaped by the freedom of busking in Berlin’s streets, the wild Atlantic wind of her childhood, and the shimmering nights of city shows. She blends indie folk, bluesy tone, and electronic shimmer, performing with guitar and piano in arrangements that shift from fragile to fierce. Each show becomes a ritual: lights low, crowd leaning in, her voice the thread that binds everything. When she steps on stage the world tilts just a little, and the audience leans forward to listen. She is independent, open, and endlessly evolving, an artist who invites you into her orbit and asks you to stay wild with her.
April 9 2026
All Ages
Doors at 7:00PM
$35.00
Collective Concerts Presents
Dirty Three emerged in Melbourne in 1992 as a raw three-piece with violin, guitar and drums at its core, an unlikely combination that soon refined into a singular, immersive voice. From the early grit of their self-titled records, the trio — violinist/keyboardist Warren Ellis, guitarist/organist/bassist Mick Turner, and drummer Jim White — built soundscapes that feel both intimate and vast. Their breakthrough with Horse Stories (1996) marked a hurricane of strings and rhythm that carried the audience into uncharted terrain. With Ocean Songs (1998) they shifted into quieter waves, letting violin and guitar drift into melancholic drift and ebbing tides, crafting the sonic equivalent of a dusk-lit sea. Over the years their work has folded in folk roots, chamber echoes, improvisational jazz freedom and post-rock texture. Their 2005 album Cinder introduced shorter forms and guest vocals, while the 2012 release Toward the Low Sun found them spread across continents yet reunited by the tape trio set-up in Melbourne, delivering music that feels worn-in and weathered. In 2024 they returned with Love Changes Everything, a textured series of six pieces that again define their evolution: mature, unhurried, deeply expressive and still unafraid of raw emotional terrain. Dirty Three’s signature style lives in the spaces between crescendos and silences, in bowed strings that howl and drift, guitar that weaves and scratches, drums that pulse and breathe. For audiences ready to feel rather than simply listen, this is music that opens up wide enough to hold storms and stillness alike.
April 10 2026
19+
Doors at 7:00PM
$35.00
Collective Concerts Presents
Whitney return to the road in 2026 with a North American tour celebrating their forthcoming fourth studio album, Small Talk (out November 7, 2025). Formed in Chicago in 2015 by Julien Ehrlich and Max Kakacek, the band has earned a devoted following for their soulful blend of tender melancholy and radiant warmth.
Their debut, Light Upon the Lake, introduced Whitney with the beloved single “No Woman,” earning Pitchfork’s coveted Best New Music designation and praise for its “near flawless… low-key perfectionism.” Nearly a decade later, the band continues to evolve while preserving the intimacy and spirit that made them so cherished from the start.
On this run, Whitney will share new songs from, Small Talk, alongside fan favorites, bringing their signature mix of laid-back charm and intricate musicianship to stages across the US and Canada, with stops in Los Angeles, Brooklyn, Toronto, Montreal, and more.
“If you’ve ever seen Whitney live, you already know what a treasure their performances are. The Chicago-based outfit, led by the effortlessly cool Julien Ehrlich and Max Kakacek, has a gift for crafting songs that feel both timeless and deeply personal - sunny yet melancholic, tender yet bold.” - We Write About Music
April 17 2026
19+
Doors at 7:00PM
$37.50
Collective Concerts Presents
Limblifter and The Grapes of Wrath arrive as two distinct voices from the same Canadian lineage, each shaped by different decades but bound by melody, grit, and songs that hold their ground over time.
Limblifter emerged in the mid-1990s with a sound that fused alt-rock muscle, power-pop instincts, and a restless melodic drive. Fronted by Chris Shepard, the band built its identity on sharp hooks, thick guitars, and choruses that land with intent rather than polish. Albums like Limblifter and Bellaclava captured a moment when Canadian alternative music leaned hard into texture and attitude while still leaving room for melody. Over the years, the band’s songwriting has matured without sanding down its edges, favoring structure and restraint while keeping the volume ready when the song demands it.
The Grapes of Wrath carry a different kind of weight. Formed in Vancouver in the 1980s, the band carved out a reputation for harmonies that feel worn in rather than produced, supported by jangling guitars and songs rooted in folk-rock tradition. Records like Now and Again and Treehouse helped define an era of Canadian college and alternative radio, built on lyrical clarity and emotional understatement. Their sound has aged naturally, with recent work reflecting the same melodic focus and quiet confidence that first earned them a devoted following.
Together, these bands share a bill grounded in craft, history, and songs written to last.
April 18 2026
19+
Doors at 7:00PM
$40.00
Collective Concerts Presents
Lambrini Girls tear into every room they enter with a sound that feels wired to the mains. From the opening howl of their debut EP You’re Welcome, they built a reputation for noise that hits like scraped knuckles and concrete. The release caught fire because it refused quiet. It pushed punk back into a place of grit and confrontation, packed with riffs that grind and vocals that feel sharpened on metal.
The arrival of their first full length Who Let the Dogs Out in 2025 marked a new level of ferocity. Produced by Daniel Fox of Gilla Band, the album is a pressure cooker filled with jagged guitars, pounding low end, and lyrics that take dead aim at corporate rot, brittle egos, and the daily bruises that come with living in a world that keeps trying to shape you. Nothing about these songs feels safe. Every track swings with teeth bared.
At the core of this storm are vocalist guitarist Phoebe Lunny and bassist Lilly Macieira. They move with the force of a two person riot. Their live shows feel like the floor is vibrating under your boots. The crowd becomes a swarm. Bodies collide. Voices rise. The band feeds off it and pushes back harder.
Lambrini Girls do not seek permission. They carve out space with volume, sweat, and a refusal to blink. This is punk distilled to its most volatile spark. When they step on stage, the room changes shape.
April 28 2026
All Ages
Doors at 7:00PM
$35.00
Collective Concerts Presents
Leith Ross crafts songs with a directness of feeling and a quiet rock-edged heart. Growing up in Ontario and now based in Winnipeg, Ross discovered music young and infused it with a restless spirit. Their first major release, Motherwell (2020), found its voice in live-in-a-day sessions captured while studying at Humber College.
Ross’s music moves beyond gently finger-picked chords. On their debut album To Learn (2023) they brought an indie-rock intensity to intimate lyrics, with a thread of yearning, of becoming, of standing outside and looking in. With songs like “We’ll Never Have Sex” entering the collective consciousness through social media, Ross defined the space where vulnerability meets strength.
By the time their sophomore album I Can See the Future arrived in 2025, Ross had sharpened the contours of their sound. Produced in part by Rostam Batmanglij, the record leans into layered textures, acoustic and electric guitars, full band dynamics, and a voice that flows from whisper to roar. They sing about loss, queerness, connection, the body that remembers and the mind that dreams ahead. Their gigs carry the electricity of a rock venue, where chords hit hard and the audience doesn’t just listen but feels. Ross stands in that moment with a guitar in hand and that lived-in voice, calling both the outsider and the believer into the same room.
Expect a live show from Leith Ross that’s honest. The kind of night where the amplifier hums, the reverb glows, the lyrics anchor you and then set you loose.
April 30 2026
All Ages
Doors at 7:00PM
$35.00
Collective Concerts Presents
Dry Cleaning stand at the center of a modern avant-rock movement built on trust, detail, and the peculiar tension of ordinary life. The South London quartet of Florence Shaw, Tom Dowse, Lewis Maynard, and Nick Buxton shape their music through mutual response, beginning with ideas in rehearsal rooms that stretch outward into layered soundscapes. Shaw’s voice remains a quiet force, weaving her found words and postcards into rhythmic speech that sits inside the pulse of each song rather than above it.
Their debut New Long Leg and its follow-up Stumpwork established a framework of angular guitars, heavy basslines, and dry humor. On Secret Love, they deepen that palette, filtering paranoia, no wave, and pastoral tones through the lens of intimacy and reflection. Recorded across studios in London, Chicago, Dublin, and the Loire Valley with producer Cate Le Bon, the album carries both playfulness and gravity. Its tracks move between darkness and clarity, between the political and the personal, searching for connection through shared honesty.
Secret Love feels both inward and expansive, a document of friendship and persistence. Dry Cleaning approach each song as a conversation among equals, exploring trust, humor, and the strange coherence that exists between chaos and calm. Their music captures the unease of modern life while finding beauty in the act of simply listening to one another.
May 1 2026
19+
Doors at 7:00PM
$40.00
Collective Concerts Presents
Wintersleep emerged from Halifax, Nova Scotia in 2001 with a sound built on tension, melody, and physical weight. Early recordings captured a band drawn to repetition and release, where bass and drums locked into patient grooves and guitars cut through with sharp, restless lines. Their self-titled debut and Untitled established a raw foundation that felt intimate and unsettled, music that moved slowly and hit hard.
The band reached a wider audience with Welcome to the Night Sky, an album defined by sweeping hooks and songs that carried both grit and emotional pull. It marked a shift toward a broader sonic palette while keeping the core intensity intact. With New Inheritors, Wintersleep leaned into layered arrangements and driving rhythms, creating songs that felt expansive without losing their sense of urgency.
Hello Hum deepened that approach, weaving melody and momentum into dense, immersive tracks. The band sharpened their edge further on The Great Detachment, delivering a set of powerful rock songs built for volume and movement, marked by muscular riffs and a tightened sense of purpose.
Their most recent work, In the Land Of, brought a darker, more textured atmosphere to the surface, grounding the songwriting in reflection and restraint. Wintersleep continue to evolve while staying rooted in the physical language of rock music. Their songs are shaped by repetition, tension, and release, designed to fill a room and linger long after the final note fades.
June 19 2026
19+
Doors at 7:00PM
$35.00
Collective Concerts Presents
Goat are a collective who hail from a small and very remote village in deepest darkest Sweden. Legend has it that for centuries, the inhabitants of the village were dedicated to the worship and practices of Voodoo. This strange and seemingly unlikely activity was apparently introduced into the area after a travelling witch doctor and a handful of her disciples were led to the village by following a cipher hidden within their most sacred of ancient scriptures.
The reason it led them there is unknown, but their Voodoo influence quickly took hold over the whole village and so they made it their home - there, they were able to practice their craft unnoticed and unbothered for several centuries.
This was until their non-Christian ways were discovered by the Church and they were burned out by the crusaders, the survivors cursing the village over their shoulders as they fled.
To this day, the now picturesque village is still haunted by this Voodoo curse the power of the curse can be felt throughout the grooves of the Goat records.
July 6 2026
19+
Doors at 7:00PM
$45.00
Toronto’s renewed and reimagined premiere event space located centrally in beautiful Yorkville. Our concert hall and supporting spaces, turning 100 years old this year, guarantee your event will be unforgettable and one of a kind. Radiating with character and history, having hosted thousands of musical events across the last century, there’s a story and an experience around every corner.
Complete with a raised stage, ornate proscenium arch, active theatre lighting rig, hardwood dance floor, and awe inspiring acoustics, the hall is second to none in the city.
The Masonic Temple was opened with great ceremony on January 1, 1918. Owned by an independent corporation of Masons, the Temple was intended to house a disparate group of lodges and chapters; at one point, thirty-eight different groups called the temple home.
Unlike the rest of the Temple, the Concert Hall was intended as rental public space to help defray operating costs, with dressing rooms, a stage, and food preparation areas.
It’s been known by many names as music and owners changed: The Concert Hall; The Auditorium; Club 888; The Rockpile, Regency Ballroom. The Concert hall started out mainly being used as a lecture-hall (“G. K. Chesterton: Literature as Luggage”), ballroom (“Canada’s Largest Public Dance Every Wed. – Fri. – Sat.”) and to host community concerts.
That’s not to say there weren’t more fantastic events too - Frank Sinatra used to rent the building for private parties, and the Rolling Stones used the space as a summer rehearsal studio for years.
The Concert Hall started to gain traction as a rock concert venue in the 1960s, attracting performers like Wilson Pickett, Tina Turner, Blood, Sweat & Tears, Johnny Lee Hooker, Canned Heat, and Buddy Guy by 1968.
1969 was a massive year: Led Zeppelin, Muddy Waters, Frank Zappa, Chuck Berry, The Who, B. B. King, the Grateful Dead, Mothers of Invention. And that was just a lead into the 70s: The Animals, Iggy Pop, The Ramones, Toots and the Maytals, Hugh Masekela. The 80s starred Iron Maiden, The Cure, Dead Kennedys, King Crimson and Depeche Mode
But things were starting to look bleak. The Building’s condition had rapidly deteriorated throughout the 70s, and as Masons started moving to the suburbs, the Temple started to fall on hard times. The corporation started looking to sell in the mid 90s, but the bands played on, ranging from Vanilla Ice to Weird Al Yankovic, The Tragically Hip to Ice-T. Rage Against the Machine. Phish. Queen Latifah. David Bowie. Pearl Jam & The Smashing Pumpkins opened for The Red Hot Chili Peppers. Green Day opened for Bad Religion. It wasn’t enough.
The building narrowly escaped demolition in 1997 by being declared a heritage site (the ‘lucky’ 888 address was coveted by developers). CTV bought it in 1998 as a news bureau and venue for the Mike Bullard show. MTV took over in 2006, and, despite closing the Concert Hall, still managed to cage a performance from U2 in 2009.
MTV decided to up-stakes and move down to Queen Street in 2012, but the Temple only had to wait a year before Info-Tech Research Group bought and thoroughly renovated it. The Concert Hall has been opened for special events, like listening sessions lead by Jimmy Page, concerts by Luke and the Apostles and Platinum Blond, boxing events, and much more. Now that 888 Yonge Inc. has the reins, we can expect more fantastic events in this beautiful, historic space.
Special Thanks to Daniel Tate. @theflyervault
Interested in the space? Want to throw a wicked event?
Concerts, meetups, corporate events, parties.
Reach out to us and we'll set you up.
