This article is first of a series covering Exclaim! Magazine’s Class of 2026 concert lineup, which showcases some of the best emerging music Toronto has to offer. To buy tickets to an upcoming Class of 2026 show, click here.

To see Ronan Mitchell’s photos of the night one lineup, view our photo gallery here!

There’s a rare energy that comes to the surface when a city’s next generation of artists share a stage. On the evening of January 9th, the Rivoli hosted the first date of Exclaim!’s Class of 2026. Tonight’s showcase of musical forces included Survival Club, Fox Atticus, Absolute Treat, and Lia Pappas-Kemps. I had the privilege of witnessing a sold-out crowd of music enthusiasts gathered for an electrifying night of local indie music.

Survival Club opened the night with a sound tracing the genres of Canadian punk and indie rock. The bandmates effortlessly weaved thoughtful melodies through brass, keys, and bass. From the first notes of “Maybe We’ll Learn Something From All of This (Probably Not),” they revealed a signature blend of direct and refreshing sincerity in their lyricism. With a pronounced sax solo, their lyrics echoed back: “It’s gonna get worse before it gets better/If it ever does.” They projected diverse sonic textures, incorporating brassy, bright energy, effectively creating layered songs which are both accessible and complex. I was impressed by their ability to capture the ambivalence of youth and city life, moving from tension and uncertainty toward glimmers of hope. It was a perfect way to kick off a night and set a pulse that the rest of the evening would chase.

Fox Atticus was next to take the stage. The band’s set immediately plunged into a strong, distorted sound. The vocals from Atticus cut through his band’s instrumentals, pushing and pulling the crowd in waves, with a subtle nod to the tonal range of Title Fight. The layering of instruments seemed to mimic tracks like “Safe in Your Skin” and “Murder Your Memory.” Atticus’s song “Mountains” twisted into hypnotic loops with lyrics spiralling into an abyss: “When I talk to the mountains, I laugh psychotically.” The sound felt immersive and tangible, enveloping the room in a tension that demanded attention. Then came “I Love You,” a momentary exhalation of intimacy expressing: “I love you, but I haven’t got the guts to tell you/’Cause it hurts too much.” Live, Fox Atticus’ songs carried immense emotional weight, capturing the growing pains of longing and love with unflinching honesty. Between the relentless riffs and quiet moments of vulnerability, the band drew the audience into a space where sonic intensity and personal introspection could coexist.

In a dazzling, ’80s-inspired attire, Absolute Treat transformed the stage into a saturated landscape of vibrant colour and motion. Band frontrunners Natalie Panacci and Julia Wittmann projected a disco rock/pop style with lush vocal harmonies. In contrast, their band emulated crisp percussion and shimmering synths, calling back to the golden era of the ‘70s and ‘80s. What really hooked the crowd about this group was their infectious chemistry. A clear live highlight was the breakout track “Bonnie,” with its layered arrangements that recalled the musical stylings of Kate Bush. Its clear resonance explains why the song was a natural fit for Canada’s breakout television series, Heated Rivalry. In Season One, Episode Five, the track plays during a pivotal phone call as hockey star Shane Hollander opens up about his pressing anxieties surrounding his sexuality to his larger-than-life confidante, Rose. The placement is subtle yet effective, allowing “Bonnie” to underscore Shane’s vulnerability without overwhelming the scene; its sense of optimism offering an emotional lift. Live, that same undercurrent ran through both “Bonnie” and the rest of Absolute Treat’s set. As they took their exit, the room lingered with a buzzing thrill, as the crowd remained enthralled by the band’s rich, unique and opulent take on ’80s pop-rock.

The night closed with Lia Pappas-Kemps, whose indie set drew the crowd inward and attuned them to tender, carefully drawn lyrics. She moved seamlessly between songs from her debut album, Gleam, and her newer singles, showcasing a subtle evolution in her songwriting. 

Her angelic voice suspended the room in stillness, giving each listener space to breathe, linger on a line, and reflect accordingly. Notably, her tonal delivery echoed the emotional clarity of her credited inspirations, such as Joni Mitchell and Feist, where live nuance, breaths and delivery carried as much weight as the melody. The arrangements of her songs were structured around tender acoustic guitar work and patient dynamics, allowing the songs’ emotional core to surface naturally. She commanded the crowd with gentle authority while maintaining a natural connection with her band. Newer tracks like “Revolving Doors” carried a raw vulnerability, with lyrics capturing love’s fragility: “Longing looks then rash behaviour/But you have changed me, I am changing.” By the end of her set, the bond between performer and audience was unmistakable, leaving a room still caught between emotion and memory.

Performances from the first night of Exclaim!’s Class of 2026 spanned raw intensity, shimmering opulence, and intimate vulnerability – capturing the full spectrum of what the city’s next wave has to offer. The best is yet to come in 2026, and with names like Survival Club, Fox Atticus, Absolute Treat, and Lia Pappas-Kemps on the rise, it’s clear that Toronto’s next chapter in music will be as bold and dynamic as the night I experienced at the Rivoli.