Review: Doja Cat Does Things Her Way on TOUR MA VIE in Vancouver

Doja Cat has never been an artist who follows expectations, whether through her music, fashion, or the personality she shares with the world. On Tuesday, October 13, the Grammy-winning rapper and singer brought that same individuality to Vancouver's Rogers Arena for a stop on her TOUR MA VIE World Tour, delivering a two-hour performance that balanced her unpredictable sense of humour with an impressive display of musical talent.

The tour follows the release of her fifth studio album, Vie, in September 2025. Known for moving between rap, pop, and R&B throughout her career, Doja Cat has built a catalogue of songs that have reached audiences well beyond their original releases. Her Vancouver set drew from across that catalogue, bringing together newer material and some of the biggest hits of her career. Joining her for the North American leg was Atlanta rapper Latto, who opened the evening with a performance that felt closer to a concert of her own than a traditional opening set.

As the audience continued to fill Rogers Arena, DJ Von took the stage shortly before 7:30 p.m. to warm up the crowd. His selections included Vanessa Carlton's "A Thousand Miles," Miley Cyrus' "Party in the U.S.A.," and LMFAO's "Party Rock Anthem," encouraging fans to sing along before the night's first performance. Shortly after, Latto's dancers appeared on stage, followed by the rapper herself in a cheetah-print jacket. She later removed the jacket to reveal a black bodysuit, a cropped cheetah-print jacket, and matching knee-high boots.

Backed by a live band featuring drums, keyboards, and electric guitar, Latto wasted little time getting into her set. She made her way down the extended stage during "GOMF," while her dancers filled the space around her and cheetah imagery appeared across the screens. She frequently engaged with the audience, encouraging Vancouver to make some noise while moving between her dancers and musicians. At one point, she performed back-to-back with her guitarist, bringing the live band into the performance rather than leaving the musicians in the background. DJ Von also joined in throughout the set, helping keep the crowd engaged between songs.

What stood out most about Latto's performance was how much she packed into 35 minutes. Between the choreography, live instrumentation, and her constant movement across the stage, there was little downtime. Her dancers moved through several formations, including a section featuring four shirtless male dancers, while Latto commanded attention with her delivery and stage presence. The audience seemed more reserved at times than her performance deserved, but she never appeared to hold back. By the time she introduced her band and dancers before leaving the stage at approximately 8:05 p.m., she had delivered something closer to a condensed headline show than a typical opening set. It was an impressive start to an evening with more than two hours of music still ahead.

Following Latto's performance, the stage was rearranged for the night's main act. The two-level setup featured an extended walkway reaching into the general admission floor, with musicians positioned on the raised platform and large screens surrounding the performance space. Even the changeover provided some entertainment, as a crew member mopping the stage carried a sign with "Do" on one side and "Ja" on the other, encouraging the audience to cheer. By the time the lights dimmed at approximately 8:52 p.m., Rogers Arena was filled with fans awaiting Doja Cat's arrival.

Rather than making a traditional entrance, Doja Cat opened with a theatrical sequence featuring two mimes interacting with a projection of the singer on the screens. A horn section featuring saxophone, trumpet, and trombone players then took the stage for a brief musical introduction, while backstage footage showed Doja making her way toward the performance area. She eventually emerged on the upper level wearing a retro aerobics-inspired outfit with elaborate eye makeup, launching into "Cards" before moving into "AAAHH MEN!" The opening introduced the playful nature of the concert, combining live musicians, choreography, and visual elements that reflected her personality.

Photo Credit: Jacob Webster

Given Doja Cat's unusual sense of humour and unpredictable social media presence, there was some expectation that her live performance would lean heavily into those qualities. While those moments appeared throughout the evening, her musical ability was equally prominent. An early dance break showcased her chemistry with the all-male dance crew, while "Kiss Me More" and "Get Into It (Yuh)" brought some of the night's first major singalongs. Both songs were shortened, but the audience hardly seemed to mind, enthusiastically singing the familiar lyrics. Hearing these hits so early in the show was a reminder of how extensive Doja Cat's catalogue has become, with one recognizable song following another before the concert had even reached its halfway point.

Doja Cat continued moving between musical styles while maintaining the retro influences heard throughout the evening. During "Take Me Dancing," her dancers appeared in bright yellow suits, while an alto saxophone feature added to the song's throwback sound. "Woman" was another crowd favourite, although its arrangement differed from the original recording, incorporating jazz influences and a rhythm reminiscent of '90s music. These changes gave familiar songs a different feel in a live setting and allowed the musicians to play a more prominent role.

The mood shifted as Doja Cat moved into a slower, more sensual portion of the set. Her dancers joined her individually for choreography that emphasized the rhythm and intimacy of the music. One highlight was "Agora Hills," which followed a smooth transition out of "Acts of Service." With Doja Cat taking centre stage and fireworks adding to the atmosphere, the performance offered a change of pace from the larger dance numbers earlier in the evening. The slower tempo also gave her vocals more room to stand out, showing another side of her abilities as a performer.

Even during these slower sections, Doja Cat found opportunities to incorporate her unusual sense of humour. "Cyber Sex" featured two dancers dressed as silver robots, bringing a playful visual element to the performance. The song then transitioned into a shortened version of "You Right," which prompted a loud singalong from the audience. Whether she was dancing with her crew, singing alongside the band, or introducing an unexpected theatrical moment, the concert continued moving at a steady pace without lengthy breaks or constant costume changes.

The energy picked up again with "Ain't Shit" and "Paint the Town Red," two songs that had much of Rogers Arena singing along. Doja Cat frequently encouraged the audience to raise their hands or participate in her sometimes outrageous call-and-response exchanges. Whenever she turned the microphone toward the crowd, fans were quick to fill in the lyrics. Following a dance break and a big-band finish, she put on a pair of pink sunglasses for "Silly! Fun!" as bubbles were sprayed over the general admission floor. Her dancers also brought out T-shirt cannons, launching merchandise surprisingly far into the audience and giving fans another opportunity to participate in the show.

Doja Cat then welcomed Latto back to the stage for "Okayyy," introducing the Atlanta rapper with a reference to her "Big Mama" nickname. The two shared the spotlight before Doja continued into "Juicy," one of the evening's most enjoyable performances. Its familiar rhythm had the audience dancing and swaying along, with fans responding enthusiastically to a song from earlier in her career. Moments like these highlighted the range of music Doja Cat had to draw from, with older favourites receiving as much enthusiasm as her newer releases.

Even after more than half the show had passed, there were no signs of slowing down. Doja Cat moved directly between performances, rarely stopping for extended speeches or breaks. The combination of live instrumentation, choreography, and audience participation helped maintain the momentum, while the occasional moments of humour gave the audience something different between the larger musical numbers. Despite the number of songs packed into the set, the concert never felt rushed.

Photo Credit: Doja Cat

"Need to Know" brought loud chants from the audience as blue lighting, spotlights, and smoke filled the stage. "Streets" followed with a more sensual performance featuring shirtless dancers and bursts of fire. One particularly impressive moment came toward the end of the song, when an electric guitarist slowly made his way onto the stage while Doja Cat continued dancing with one of her performers. As the two exited, the guitarist took centre stage for a solo, allowing the performance to transition without interruption. It was a small detail, but one that demonstrated the thought behind the production and how carefully the different elements had been coordinated.

Doja Cat's more unpredictable side returned during "WYM Freestyle," which had the audience chanting along as she moved around the stage, at one point even rolling across the floor. Her willingness to behave unexpectedly was part of the entertainment, and the audience seemed to enjoy every moment. "Tia Tamera" brought another memorable interaction with the cameras, as green lighting filled the stage and Doja Cat made exaggerated facial expressions directly into the lens. The close-up footage appeared on the arena's large screens, recreating a moment familiar to fans who had seen clips from the tour circulating on social media. Shortly after, "Boss Bitch" had fans jumping along to its beat as the concert approached its final stretch.

As the evening neared its end, Doja Cat continued finding ways to surprise the audience. During "Stranger," a long vine descended from the ceiling with a large rose hanging from its end and a microphone attached for her to sing into. The unusual setup gave the song a memorable visual element, fitting naturally into a show that had already featured everything from mimes to silver robots. By approximately 10:40 p.m., Doja Cat had made her way back to the upper level of the stage, where she began the evening, encouraging the audience to join in during "One More Time" before moving into one of her biggest hits, "Say So."

The concert came to an end with "Jealous Type," which opened with a saxophone solo before Doja Cat delivered her final performance of the night. Her dancers returned with roses to throw into the audience, and Doja Cat joined in, even pouring a bottle of water over herself before tossing flowers to fans. Confetti filled the arena as she thanked Vancouver, bringing the show to a close shortly before 11 p.m. After more than two hours on stage, she left the audience with one final display of her humour and personality while the band played her out.

With 32 songs performed throughout the night, TOUR MA VIE offered an extensive look at Doja Cat's career. Although several songs were shortened, the arrangements and transitions kept the concert moving without making the performances feel incomplete. The title felt especially fitting for a setlist that brought together music from different stages of her career, from earlier favourites like "Juicy" and "Say So" to newer material from *Vie*.

For all the humour and unexpected moments throughout the evening, Doja Cat's musical talent was what ultimately stood out. Her vocals, dancing, and chemistry with the live band made the concert entertaining from beginning to end, while the production gave her room to express her personality without overshadowing the music. After more than two hours and 32 songs, Vancouver had experienced a show that felt entirely her own.

Doja Cat's TOUR MA VIE World Tour continues across North America through December 1, 2026, with upcoming stops in Los Angeles, Las Vegas, Toronto, Montreal, and several other cities before concluding at Madison Square Garden in New York City. For tickets and additional tour information, visit the link below. 

Doja Cat's Remaining TOUR MA VIE World Tour Dates (2026):

Oct. 20 - Sacramento, CA - Golden 1 Center  

Oct. 22 - Inglewood, CA - Kia Forum  

Oct. 25 - San Francisco, CA - Chase Center  

Oct. 27 - San Diego, CA - Viejas Arena  

Oct. 29 - Phoenix, AZ - Mortgage Matchup Center  

Oct. 31 - Las Vegas, NV - T-Mobile Arena  

Nov. 3 - Austin, TX - Moody Center  

Nov. 4 - Dallas, TX - American Airlines Center  

Nov. 6 - San Antonio, TX - Frost Bank Center  

Nov. 7 - Houston, TX - Toyota Center  

Nov. 11 - Miami, FL - Kaseya Center  

Nov. 13 - Tampa, FL - Benchmark International Arena  

Nov. 14 - Orlando, FL - Kia Center  

Nov. 17 - Atlanta, GA - State Farm Arena  

Nov. 18 - Charlotte, NC - Spectrum Center  

Nov. 20 - Baltimore, MD - CFG Bank Arena  

Nov. 21 - Washington, DC - Capital One Arena  

Nov. 23 - Boston, MA - TD Garden  

Nov. 25 - Toronto, ON - Scotiabank Arena  

Nov. 27 - Montreal, QC - Bell Centre  

Nov. 29 - Philadelphia, PA - Xfinity Mobile Arena  

Dec. 1 - New York, NY - Madison Square Garden

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