Burt Block Party 2026 - Night Two: The Beaches, Lights, LØLØ, and Sundayclub

The second night of the 2026 Burt Block Party in Winnipeg was a celebration of Canadian pop, rock and everything in between, with a lineup that steadily built from hometown promise to full-blown festival euphoria. On August 14, 2026, Winnipeg's downtown streets were alive once again with music as Sundayclub, LØLØ, Lights, and the headliners The Beaches each brought a distinctly different flavour to the second night—and somehow made the eclectic bill feel perfectly cohesive.

For a festival built around celebrating live music in the heart of Winnipeg, it was an ideal second night.

Local indie-pop act Sundayclub had the unenviable task of getting the crowd moving early, but the Winnipeg band looked increasingly comfortable as its set unfolded. A fast-rising name in the city's indie-pop scene, Sundayclub offered the kind of polished yet youthful performance that makes it easy to understand why the band is generating momentum. Their set had the energy of a group that knows it has something to prove, but also knows it belongs on a stage this size.

Next up came LØLØ, who wasted absolutely no time turning the party up. Opening with “the devil wears converse,” LØLØ immediately established the bratty, melodic pop-punk energy that would define her set. “2 of us” and “debbie downer” kept the momentum high before a particularly fun detour into Michelle Branch's “Everywhere.” The cover was an inspired choice, fitting naturally into LØLØ's nostalgic, hook-heavy aesthetic while giving the crowd another opportunity to sing along.

The emotional whiplash continued with “Pretend,” “the punisher,” and “u turn me on (but u give me depression),” followed by a mash-up of “faceplant” and The Killers' “Mr. Brightside.” The latter was practically engineered for a festival crowd, and the audience responded accordingly.

By the time LØLØ reached her final stretch of “DON'T!”, “dumbest girl in the world,” and the set closer “hot girls in hell,” the room had transformed into a giant singalong. LØLØ's greatest strength live is her ability to make songs about messy relationships, self-doubt, and emotional chaos feel incredibly fun. She doesn't hide the ugliness; she turns it into a party.

If LØLØ brought the reckless pop-punk energy, Lights brought the theatrical polish. Her set opened with “COME GET YOUR GIRL,” immediately followed by “River” and “Ghost Girl on First.” Lights has spent years developing a sound that can move effortlessly between electronic pop, rock, and something considerably more atmospheric, and the set showcased just how expansive that palette has become.

“Running With the Boys” was an early highlight before Lights launched into a medley of “Timing Is Everything,” “Flux and Flow,” and “We Were Here.” Rather than simply running through the hits, the arrangement gave the performance a sense of movement, allowing songs from different eras of her career to flow together.

A cover of Felix Cartal's “Love Me” offered another change of pace before “Batshit,” her collaboration with MYTH, brought the intensity roaring back. As her set progressed, tracks “Piranha,” “Damage” and “Prodigal Daughter” followed, with “Okay Okay” keeping the crowd firmly engaged.

And then came one of the night's biggest surprises: blink-182's “All the Small Things.” The song is almost impossible to resist in a festival setting, and Lights' rendition proved exactly why. It was followed by “Surface Tension” and “Alive Again,” giving the set a triumphant closing stretch. Lights didn't simply perform a collection of songs; she built a world around them, balancing electronic textures and rock immediacy with a veteran performer's confidence.

By the time The Beaches took the stage, the completely sold-out audience was more than ready. The Toronto quartet opened with “Takes One to Know One” and immediately settled into a set that demonstrated why The Beaches have become one of Canada's most formidable live acts. “Touch Myself,” “Did I Say Too Much,” and “Cigarette” came in rapid succession, followed by “Grow Up Tomorrow” and “T-Shirt.”

There was a sense throughout the performance that the band understood exactly what the Burt Block Party crowd wanted: huge choruses, sharp attitude, plenty of personality, and absolutely no shortage of swagger.

To keep it going, The Beaches delivered “Jocelyn” and “Me & Me” to keep the momentum rolling before “Perfect 10” and “Dirty Laundry” provided another pair of crowd-pleasers. The singalong grew louder during “Can I Call You in the Morning?”, while “Shower Beer” brought a lighter, more irreverent moment.

The middle of the set was packed with momentum, with “Should've Known Better,” “Everything Is Boring,” and “Hypothetical” giving way to one of the evening's most intimate moments: an acoustic performance of “Lesbian of the Year. Stripped down, the song revealed another side of the band and briefly pulled the massive festival atmosphere inward. But The Beaches weren't interested in staying quiet for long.

“Edge of the Earth” and “Last Girls at the Party” launched the show toward its inevitable climax, before “Blame Brett” delivered the kind of massive, instantly recognizable finale that could have easily ended the night.

Of course, the night wasn't over. The audience wanted more and so The Beaches returned to the stage for an encore of “I Wore You Better” and “Sorry for Your Loss,” sending the crowd home with one final dose of their signature combination of emotional candour and rock-star confidence.

What made the second night of Burt Block Party work so well was the progression. Sundayclub represented the next wave of Winnipeg's indie-pop scene. LØLØ injected the evening with chaotic pop-punk fun. Lights brought years of experience and an expansive electronic-rock spectacle. Then you have The Beaches, who took everything the night had built and turned it into a full-scale celebration.

It was a lineup that could have felt scattered on paper, but on the street and in front of the stage, the differences became the point. Every artist brought a different perspective on modern pop and rock, while the crowd embraced all of it.

For Winnipeg, it was another impressive night at the Burt Block Party—and a strong reminder that the city's festival scene is at its best when it creates room for both established Canadian favourites and artists on the verge of breaking through.

Photos by Samuel Stevens Photography