Gorilla Warfare: Gorillaz @ Scotiabank Arena

• OCT. 26, 2026
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• WRITTEN BY ELLIE KINFE-FALIA

I got the chance to see Gorillaz live at Scotiabank Arena on October 5th, and it was definitely an experience to remember. As a long-time fan of the musical group, I think their performance not only delivered on thrill and absurdity but demonstrated what makes the band so unique. Gorillaz, co-created by musician Damon Albarn and artist Jamie Hewlett, built its brand on four fictional band members: 2D, Murdoc, Russel, and Noodle. But how does a virtual band meet an audience’s surreal expectations for their concert of real musicians? For Gorillaz, these fictional band members opened the door for one of the most collaborative long-term music projects of all time, and this show demonstrated that perfectly.

The night began at 6:30 PM with opening acts Deltron 3030 and Little Simz. Both have a history of collaborating with the headlining band and did an extraordinary job of creating an electric energy in the crowd. Though people were still pouring into their seats during their set, Deltron 3030’s hip-hop performance was a must-see. The supergroup is formed by members Del the Funky Homosapien, Dan the Automator, and Kid Koala. They imbued their futuristic aesthetic on the stage with animations depicting the narrative of their self-titled concept album, in which soldier Deltron Zero rebels against his corrupt government. Excitingly, the group announced a new album on the way, their first in 13 years, and proceeded to play a song off the record. It brought back the premise of a post-apocalyptic society in ruins. As foundational as this concept is within the group, I found it to be especially relevant in the current geopolitical climate. After all, the group’s decision to wait until now to create a new record is intentional. With the lineup of artists that night, you had to realize that none of their art’s political commonalities were coincidental. Their new song brought a bright red energy to the scene, and a sense of urgency in their delivery. In times when youth are being politicized in the face of global injustices and political corruption, there is no better place for Deltron 3030’s message of rebellion. As sung in their song “Memory Loss”: “Don’t fight the feeling/you better deal with it.”

English rapper Little Simz hit the stage at 7:30 PM for her set. As long-time fans, my friend and I shot up from our seats as she began with the opening track from her latest album, Thief. Her stage presence was momentous. In songs like “Gorilla” and “Lion,” she commanded the crowd with strength and confidence. While in softer songs, like “Woman” and “Free,” she sang her contagious words of hope to the crowd so earnestly, that it perfectly balanced the apocalyptic vibe of Deltron’s set.

Finally, at 8:50 PM, the headlining set began. It was an ambiance I’d never seen in a Gorillaz live performance, when the soft instrumentation of the title track of their latest album, The Mountain, illuminated the stage. The sound of the sitar and bansuri set the scene as their music video, “The Mountain, The Moon Cave and The Lost God,” played on screen. Next, they played some of the band’s most energetic and popular songs. “Tranz” is a track that is impossible to listen to while sitting still, and not one audience member was left seated when it blasted out from the stage. Oddly, between songs, Labubus graced the screen visuals in quick, colourful flashes. As absurd as it was, these are the things Gorillaz does. In their quarter-century as a band, they’ve built their identity on holding a mirror up to humanity and mocking it, right down to their satirization of MTV musician performativity in the late nineties. Humour is a staple in their performances, and no one understands that better than frontman Albarn. His love for interacting with the crowd was apparent; it seemed every other song he was rushing around the floor and lower bowl to reach as many people as he could, to hug them, shake their hand, or scream the lyrics of “Last Living Souls” in their face with an energy reminiscent of his Blur days.

I took particular notice of the band’s outfits onstage. Seye Adelekan, who was absolutely showstopping on the bass, guitarist Remi Kabaka Jr., and lead singer Albarn all sported army-style garments, namely camo vests and cargo pants. Albarn also regularly wears a bright beret and a pin or a medallion on this tour. The fashion was seemingly consistent with the camouflage pattern that dominated their debut album, and I asked myself why these outfits were chosen for The Mountain Tour. In this wardrobe, the members risked appearing out of place in The Mountain’s visual aesthetic, but it’s all by Gorillaz’s design. Like Deltron 3030’s album announcement, there’s intention behind the choice to wear the military-adjacent outfits now, rather than during any preceding tours. From Che Guevara to the Black Panthers, berets carry a distinct connotation of revolutionary politics. Military wear itself has been adopted as a symbol of anti-war protest, something Gorillaz has consistently participated in through music, with songs like “Kids With Guns” and “Fire Coming out of the Monkey’s Head.”

Since their beginning, Gorillaz has been a politically vocal band. At the first show in the North American leg of their tour, Albarn took to the stage with a resounding statement of the group’s beliefs. “Don’t forget this. Ever. Stand your position. Don’t ever be neutral,” he said as he held up the Palestinian flag. Albarn independently has a history of activism, consistently being outspokenly against conflicts such as the Iraq War, and used Gorillaz as a vehicle for political statements through their “Free Tibet” campaign. Their latest album, with many tracks performed that night, is ripe with political commentary. Their performance of the album’s third single, “The Happy Dictator,” pulls no punches in its critique, with lines sung by the titular dictator such as, “In a world of fiction, I am a velvet glove/I am your soul, your resurrection, I am the love.”

Albarn replicated the low-quality, distorted voice effect heard on their records by using a voice filter on a mic resembling a megaphone–a tool for crowd mobilization. I couldn’t help but take note of how they utilize the culture of protest and resistance in their act. It seems far-fetched, but I think familiarizing people with this style and these items opens their minds up to a subculture they may be unfamiliar with. The band’s objective has always been to go against the grain, encouraging their fans to do the same. Their stylistic influence on the young audience was palpable, seen through the alternative outfits the crowd wore that evening, and I have hope that their counter-culture nature carries over just the same.

Toronto got an especially remarkable performance from the group as former collaborator and Jamaican artist Popcaan was brought on stage for a surprise performance of “Saturn Barz” off of Humanz—a personal favourite song of mine. The number was enhanced by the giant projection of the song’s music video and Popcaan’s energetic performance. Gorillaz, known for their collaborations, brought out a number of other artists. Names like Pos from De La Soul, Bootie Brown, Kara Jackson, and Michelle Ndegwa populated the stage and only made the set more vibrant. However, to bring the energy of the night down, they performed the closing track off their latest album, “The Sad God.” In it, Albarn sang: “I gave you atoms, you built a bomb/Now there is nothing, and I have gone/[...] Only screens left to see your face.” This melancholic look at humanity through some omnipotent perspective is another instance of asking the audience to reflect on the state of mankind. They signed off with their iconic songs “Clint Eastwood” and “Dirty Harry,” and before the group, including surprise guest and co-creator Hewlett, took a bow, I could only conclude that we were given a very personalized, unforgettable show.

One can question the validity of a band so big making political statements. Are they protesting in the street? Perhaps not, but I think these statements show people who feel dissatisfied with the world that they aren’t alone, and that there is power in numbers. Deltron 3030’s denouncement of a corrupt post-apocalyptic future, Little Simz’s call for hope and love, and Gorillaz's consistent outspokenness all present different reactions to injustice. After all, that’s what music, especially played live, is for: it provides community, an opportunity to share your emotions, and realization that you are only one among many. To me, Gorillaz exemplifies how art is one of the most powerful tools to rally people together. Art will never be divorced from the context in which it is created, and it is the most significant of artists who dare to make their art inextricable from their political surroundings.