Goldie Boutilier’s Sold-Out Toronto Show Marked the Arrival of an Icon

The Horseshoe Tavern, April 9

Nova Scotia’s Goldie Boutilier set the Horseshoe Tavern ablaze last night, with her first-ever sold-out show right here in Toronto marking the arrival of an indie icon. And she’s no stranger to reinvention: previously known by monikers like Goldilox, the singer-songwriter has spent years shapeshifting through various styles and sounds. However, what emerged on that legendary stage was an artist in full command of her voice, audience, image and moment.

Her unique brand of gothic penthouse pop rock — a fusion of retro glamour, classic rock influence and indie pop sensibility — filled the venue like cigarette smoke. From the second she stepped on stage, Boutilier was producing cinema.

The performance was structured in three acts, with the artist guiding us through a playful narrative about a scorned sex worker unafraid to kill for love… or, perhaps, just a decent life insurance payout. This stylish yet comedic through-line added both levity and welcome structure to the evening. Boutilier’s sharp sense of storytelling kept the crowd hooked, giving the performance a theatrical shape that elevated it beyond a typical bar gig.

The fashion, lighting, sound design and overall aesthetic of the production had nods to Tarantino, flashes of ’70s rock decadence and more than a hint of drama; but despite homage, it was all unmistakably her own. Boutilier has the rare gift of pulling from the past without feeling derivative. Instead, she alchemizes her influences into something entirely fresh.

The evening opened with a well-matched set from fellow Nova Scotian act Glimmerjean & Goode, who brought presence to the small stage and injected early energy into the crowd. Through moments of hesitancy, the band’s chemistry and charisma were still present — and while their genre exploration felt more surface-level than Boutilier’s deep-dive approach, they still set the tone with style and promise.

When Boutilier took command of the stage, she did so with absolute authority. Her vocals were rich, precise and emotionally charged. Whether belting anthemic choruses or crooning lounge-y ballads, she never missed a beat. There was a flirtatious, vintage-feeling rapport between her and the crowd — a push and pull of control and surrender that can often be a lost art in modern live performance. We followed her cues willingly, desperately, even.

Tracks from her excellent recent EPs Emerald Year, Cowboy, Gangster, Politician and The Actress filled the venue with smouldering atmosphere and poetic yearning, as if the Horseshoe Tavern had been a set built specifically for her — complete with red lighting, shadow play and a wall of transfixed fans. This was affordable world-building done right: intimate and immersive.

Boutilier carries all the mystique of a Maritime Lana Del Rey, but with an even sharper edge and a more winking sense of humour. She effortlessly flips between archetypes — seductress, outlaw, poet — without ever losing her sense of self; it’s a remarkable kind of authenticity that allows her to embody characters without hiding behind them. As her songs make clear, Goldie is just as real when she’s playing a role.

Some of the night’s most breathtaking moments came during stripped-down renditions of “Penthouse in the Sky,” “Pretending” and “Psycho.” These quieter tracks highlighted Boutilier’s vocal control and affecting depth. There’s a slinky ease to the way she performs, making even the most vocal difficult passages seem deceptively effortless. A refusal to compromise polish for unpredictability is part of what makes her so compelling.

The final act of the show leaned into the singer-songwriter’s love of classic rock; think Stevie Nicks by way of a film noir. Boutilier’s glam, grit and cinematic vision came together in full, leaving no doubt that she belongs on stages far larger than this one. Yet, the intimacy of the setting made it all the more special, as though we were witnessing the beginning of something big, not unlike when I saw Mitski perform on the same stage in 2018. If last night was any indication, Boutilier won’t be playing in small rooms for much longer.