Subhead: Nostalgia met fresh energy as Toronto’s genre-bending troublemakers reminded Edmonton why we still know every lyric.
By: Yuri Woodfall — Western Lead, Photojournalist — Sound Check Entertainment
Where/When: Midway Music Hall, Edmonton — September 6, 2025
The Return to Edmonton
If you’ve ever yelled “WOAH!” back at a stage like your life depended on it, you already know what kind of night this was. Down With Webster didn’t just roll into Midway—they detonated it. From the first beat drop to the last “thank you, Edmonton,” the room felt like a 2009 house party that somehow learned better lighting, bigger subs, and how to sell out a bar line. Their calling card has always been that unruly mash-up of rap-rock-pop with hooks bigger than a Rogers Place jumbotron, and tonight they served it hot.
The band made a point early in the night to say how thrilled they were to be back in Edmonton, remembering their K-Days set last summer. That outdoor festival was wild, but Midway gave them a chance to take the chaos indoors and pack the energy tighter, louder, and sweatier. Their excitement was contagious, and the crowd roared back like a reunion between old friends.
The Lineup
On stage it was the full crew: Cameron Hunter on rap and lead vocals, bounding around the stage with endless hype energy; Patrick Gillett on guitar and lead vocals, delivering soaring hooks with rock-star ease; Tyler Armes anchoring the low end on bass and adding depth on keyboards, the steady glue of the band; Andrew “Marty” Martino on drums, locked into a precise groove that kept the chaos danceable; and Martin “Bucky” Seja on rap and vocals, a ball of fire at the front line who whipped the crowd into a frenzy. The mix of personalities was half the fun—Cam and Pat tag-teaming verses, Tyler and Marty layering the muscle and melody, and Bucky sparking the kind of chaos only DWW can control.
The Vibe
Midway was shoulder-to-shoulder by the time the lights dipped, the kind of sold-out hum that makes your jacket suddenly feel like a poor life choice. When the first chorus hit, phones went vertical, drinks went airborne, and strangers became choirmates. Edmonton loves an underdog with swagger, and DWW still has that charming “we’re not supposed to get away with this” energy—then they do, over and over.
The Sound & Show
Big credit to the crew too: vocals sat on top of the beat all night, guitars cut without ever sandpapering the highs, and lighting swung between neon candy and punchy strobes that snapped with each snare. No pyro, no gimmicks—just a stage full of personalities and songs that were born to be yelled in public.
The Journey Through the Setlist
They wasted no time, ripping into “One in a Million” before sliding straight into “Time to Win,” which had the entire floor bouncing in unison. The energy barely dipped as “Professional” kept the pace, a slick reminder of how versatile their catalog really is.
Of course, “Rich Girl$” was the first true eruption of the night—the opening riff alone sent Midway into trampoline mode. The nostalgia stayed high with “Big Wheels,” its swaggering beat grinding down into one of the night’s funkiest grooves. By the time “She’s Dope” landed, the crowd was already singing louder than the PA.
What made the show feel fresh, though, were the curveballs. “Okae” brought a punchy, newer-school edge that reminded everyone DWW aren’t just riding on hits. “Rock Wit You” stretched into a party jam, while “Jessica” leaned into slicker pop hooks that had couples swaying and phones lit like sparklers.
One of the night’s biggest surprises came when they stitched “Back of My Hand” into “Grind”—a gritty one-two that showed the band still loves to flex those hip-hop roots. And then came the medley: “Everybody (Backstreet’s Back) / Hot in Herre / Jump Around / 1000 Miles / Seven Nation Army.” Five songs, one mash-up, total chaos. Edmonton didn’t just sing; they screamed. That’s the kind of communal meltdown you can only get live.
The home stretch was all firepower. “Royalty” rumbled like an arena anthem, “Party for Your Life” felt like a mission statement, and then the floor absolutely caved in with “Whoa Is Me” and “Your Man.” If your voice survived that closer, you weren’t doing it right.
The Crowd Connection
- Edmonton flexed its harmonies—loud, proud, off-key in the best way. The kind of communal wrong-notes that make live music feel more alive than perfect.
Why This Hit So Hard
Down With Webster’s catalog came of age with a lot of us—high school parking lots, college house parties, questionable dance moves in kitchens at 2 a.m. Seeing them crack open those memories without leaning solely on nostalgia is the trick. They sound tighter, the jokes land sharper, and there’s zero phoning-it-in. If anything, the hunger reads louder now: a band that remembers how good the highs felt and is chasing them again, city by city.
The Encore & Exhale
When they ducked off and the lights didn’t come up, nobody budged. Ten seconds later: boom—one-two encore, laser-guided to the hits and a final burst of confetti-free euphoria. House lights on, people blinking at each other like, “Yep, that really happened.”
The Verdict
If you’ve ever loved this band, you’ll love them more after tonight. If you only knew the singles, you probably left with three new favourites and a sore throat. Edmonton got exactly the release valve we wanted as summer winds down: big hooks, bigger smiles, zero pretense — and a lineup firing on all cylinders. We got Cam’s chaos, Pat’s soaring hooks, Tyler’s groove, Marty’s drive, and Bucky’s fire all in one sweaty, unforgettable package.
Rating: 4.5/5 “Whoa”s. Would chant again.
