“Weird Al” Yankovic transformed Toronto’s Budweiser Stage into a multimedia comedy carnival Wednesday night (July 9), delivering a performance that redefined what a concert experience could be. The master parodist’s Bigger & Weirder 2025 Tour stop proved why he remains the undisputed king of musical comedy, serving up two hours of pure entertainment that had the capacity crowd laughing, singing and dancing from the opening notes to the final encore.
The evening began with Yankovic’s signature theatrical flair as the “Fun Zone” instrumental from his cult classic film “UHF” pumped through the venue’s sound system, building anticipation to fever pitch. When the lights dimmed and the opening credits rolled featuring “Al as Godzilla,” the crowd erupted in massive applause that would become a constant throughout the night. Yankovic emerged for “Tacky,” his brilliant parody of Pharrell Williams’ “Happy,” with a camera tracking his every move as he strutted through the backstage area before making his grand entrance. The performance perfectly captured the song’s music video aesthetic while showcasing the expanded eight-piece band that made this tour truly special.
After the opening number’s thunderous reception, Yankovic delivered one of the evening’s most memorable moments with his characteristic self-deprecating humour. “I hate to say this, might as well be straight with you guys,” he announced to the Toronto crowd. “I heard from the management of the Budweiser Stage just a few moments ago. Apparently, I didn’t notice. Apparently, we are contractually obligated to begin tonight’s performance with a brief PowerPoint presentation”. This perfectly timed comedic bit segued seamlessly into “Mission Statement,” one of several songs making their live debut on this tour. The Crosby, Stills & Nash pastiche from his 2014 album “Mandatory Fun” showcased Yankovic’s songwriting prowess beyond parody, proving his versatility as a composer.
The theatrical peak of the evening arrived when Yankovic dramatically raised his accordion skyward like King Arthur drawing Excalibur from the stone, bellowing “Are you ready to polka!?” to the delighted crowd. “Polkamania!” followed, a 2024 mashup featuring recent pop hits including Billie Eilish’s “Bad Guy” and Lil Nas X’s “Old Town Road,” all transformed through Yankovic’s signature polka treatment. The medley concept, a staple since 1984, demonstrated how the artist continues to stay culturally relevant by incorporating contemporary hits that might not warrant full parody treatment but deserve the bright 2/4 time signature that has become his trademark.
The setlist brilliantly balanced crowd-pleasing hits with rarities that sent longtime fans into ecstasy. “Everything You Know Is Wrong,” the They Might Be Giants homage, received its live premiere on this tour, while “One More Minute” and “Smells Like Nirvana” reminded audiences of Yankovic’s ability to both celebrate and gently mock the music he parodies. The inclusion of songs like “eBay,” performed live for the first time since 2003, and “Fat,” absent from setlists since 2016, proved this tour’s commitment to serving both casual fans and the devoted faithful who have followed Yankovic’s career for decades.
The evening’s centrepiece arrived with Yankovic’s legendary medley, a rapid-fire journey through his greatest hits that included “Party in the CIA,” “It’s All About the Pentiums,” “Bedrock Anthem,” “My Bologna,” “Ricky,” “Ode to a Superhero,” “I Love Rocky Road,” “Eat It,” “Like a Surgeon,” “Word Crimes” and “Canadian Idiot”. Each song received just enough time to trigger recognition and nostalgia while maintaining the breakneck pace that makes the medley such a tour de force. The seamless transitions between decades of material showcased both the band’s musical prowess and Yankovic’s enduring ability to craft memorable hooks, even in parody form.
Throughout the performance, Yankovic’s wardrobe changes rivalled the most elaborate Broadway productions, with each song requiring specific costumes that enhanced the theatrical experience. The interstitial video montages, featuring clips from throughout pop culture history sho
wing Yankovic’s influence and appearances, served dual purposes of entertaining the crowd while allowing for these elaborate costume transformations. These production values elevated the concert beyond a simple musical performance into a full-scale entertainment spectacle that justified every ticket price.
The eight-piece ensemble, featuring Yankovic’s core band of Jim West, Steve Jay, Rubén Valtierra and Jon “Bermuda” Schwartz alongside additional backup singers and multi-instrumentalists, created a wall of sound that gave new life to familiar material. The expanded lineup allowed for the inclusion of horns, hand drums and additional guitars that had never been possible in previous touring configurations. This “super-sized concert experience” delivered on Yankovic’s promise that “with twice as many players onstage, everything is going to sound twice as good”.
The evening’s most touching moment came when Yankovic performed Helen Reddy’s “I Am Woman” as Toronto’s special request song. This choice perfectly captured the inclusive spirit that has always defined Yankovic’s fanbase while showcasing his ability to deliver both comedy and genuine musical moments. The performance demonstrated his respect for his audience and his willingness to step outside his comfort zone to create unique experiences for each city on the tour.
Songs like “Captain Underpants Theme Song,” “Now You Know,” “Skipper Dan” and “Stop Forwarding That Crap to Me” reminded audiences that Yankovic’s catalog extends far beyond his most famous parodies. These selections, drawn from various albums throughout his career, showcased his evolution as a songwriter and his ability to comment on contemporary culture through original compositions. “It’s My World (and We’re All Living in It)” particularly resonated with its prescient observations about self-absorption in the digital age.
The performance of classics like “White & Nerdy” and the extended outro version of “Amish Paradise” that closed the main set reminded everyone why Yankovic has maintained cultural relevance for over four decades. These songs, which helped define entire generations’ relationship with pop culture, received the full production treatment they deserved. The crowd’s enthusiastic participation during these moments created a communal experience that transcended typical concert dynamics.
The three-song encore featuring “We All Have Cell Phones,” “The Saga Begins” and “Yoda (With Yoda Chant)” provided the perfect conclusion to an already exceptional evening. “The Saga Begins,” Yankovic’s masterful retelling of “Star Wars Episode I” set to Don McLean’s “American Pie,” showcased his ability to create parodies that often surpass their source material in terms of cultural staying power. The “Yoda Chant” finale had the entire Budweiser Stage audience participating in a moment of pure, joyful absurdity.
This Budweiser Stage performance represented everything that makes live music special: technical excellence, emotional connection, and pure entertainment value. Yankovic’s energy level throughout the two-hour performance seemed to increase rather than diminish, proving that at 65, he remains one of the most dynamic live performers in popular music. The production values, musical arrangements and sheer scope of the performance created an experience that will be remembered as one of the venue’s finest moments.
The evening began with the gloriously bizarre Puddles Pity Party, the seven-foot-tall Pagliacci-inspired clown whose golden voice and theatrical presence provided the ideal warm-up for Yankovic’s main event. Puddles’ unique blend of melancholy and humour, featuring everything from Tom Waits covers to emotional renditions of pop classics, created an atmosphere of theatrical absurdity that perfectly complemented the evening’s overall tone. His ability to transform familiar songs into something simultaneously heartbreaking and hilarious demonstrated why he has become the go-to opening act for artists who understand that great entertainment requires both skill and fearless creativity.
All photos by Dan Savoie
