Popscene Presents
LØLØ (Toronto)
God Forbid A Girl Goes On Tour '26
Thursday, 10/8
@ Brick & Mortar
7pm doors, 8pm show
Support TBA
$17.00 advance, $20.00 week of show
LØLØ’s journey started long before she became the fully formed pop rock force we now know today, gracing the stage with her hard hitting passion and tour de force performance energy. As a child rifling through her eclectic and extensive CD collection including everything from the Wizard of Oz soundtrack, to Hilary Duff, to Green Day, she learned how to play “Good Riddance (Time of Your Life)” and never put the guitar down from that point on. Emerging in 2018, she attracted a rabid fan base with heart-on-her-sleeve lyrics and hard-hitting melodies spiked with a pop rock spirit. She also dropped three EPs, the Sweater Collection EP [2019], overkill EP [2021], and debbie downer EP [2022]. Among various standouts, her cover of “Dancing In The Dark” (Bruce Springsteen) gathered over 29 million Spotify streams followed by “u turn me on (but u give me depression)” with north of 16 million Spotify streams. Plus, she earned the applause of OnesToWatch, Kerrang!’s Sounds of 2024, Alternative Press, 1883 Magazine, tmrw, PAPER who attested, “Full of all the anger, angst, cynicism and depression that makes a proper pop punk artist, Toronto singer-songwriter LØLØ is well on the rise” and a mention in September 2020 People Magazine "Emerging artists making their mark on the musical landscape". In 2021, she collaborated with pop punk icons Simple Plan on their Amazon Exclusive “I’m Just a Kid”. Moreover, she toured with everyone from Boys Like Girls to New Found Glory and Against The Current, and has performed at Lollapalooza, Sad Summer Festival, and Slam Dunk Festival.
LØLØ’s path to stardom in Hollywood was paved with its fair share of obstacles and jump scares. Since she arrived a few years back, the Toronto-born singer and songwriter has hit like a tornado with tens of millions of streams and widespread critical acclaim. She also just so happened to encounter a myriad of misfits, falling for (genuinely) heartless dudes.
Along the way, she crafted what would become falling for Robots and wishing I was one with producer Mike Robinson. The concept naturally presented itself. Now, she invites everyone into her mind on her 2024 full-length debut LP, falling for robots and wishing I was one [Hopeless Records].
“I feel things way too hard,” she observes. “Maybe it’s a terrible thing for relationships, but it comes in handy for songwriting. Little things that shouldn’t affect me, do. I often find myself wishing I didn’t feel things too deeply. Growing up in the world today can be very complicated. You have to worry about all of these little factors. In a sense, the album really explores what it means to be human these days.”
“I moved to L.A. post-COVID and grew up a lot along the way,” she says. “It felt like everyone I encountered had no emotions or maybe I just had too many emotions and am overly sensitive. That’s where I got the idea for falling for robots and wishing I was one.”
She initially teased the record with “omg,” “faceplant,” “2 of us”, and “hot girls in hell,” the last of which will probably tell you what you need to know of her wry, wistful songwriting style, with each new release building into a sassy, beguiling bigger picture. Her latest release “poser”, which Alternative Press called “an instant breakup anthem”, LØLØ says of the track,
"'Poser' is about someone who really got me good, who really truly made me believe they loved me, when it later became clear to me, they simply couldn't have. Being a girl who enjoys rocking from time to time, I’ve sadly gotten called a poser many times by internet bullies.”
The single “u & the tin man” not only catalyzed the process, but it also represented the album’s emotional apex. Strumming an acoustic guitar, her delivery barely cracks a whisper as she laments, “The tin man and you are exactly the same, except he’s actually looking to fill up that space in his chest.” Strings gently accent the vocals, giving way to one final distortion-boosted catharsis, “If you only had a heart, that’d be nice.”
