Fox Revett Debuts Album With Subway Station Concert

A debut album born on the subway, launched right back underground.

By
Anders — Editorial Lead
Anders is the creative force and technical architect behind Divine Magazine’s editorial identity. Blending Scandinavian minimalism with a sharp instinct for digital storytelling, he shapes the...
3 Min Read

Fox Revett has released their debut album, I Don’t Know Where I Left My Body — and chose one of Toronto’s strangest venues to mark it. On July 20, the Toronto-based artist staged an immersive concert inside Lower Bay Station, a subway platform beneath Bay Station that has sat largely closed to the public since 1966.

The choice of venue wasn’t incidental. Revett wrote much of the album while riding Toronto transit, and first built an audience through performance videos filmed on subway platforms. Bringing the record back underground, for one night, closed that loop.

“The subway is where this album was born,” Revett said. “It felt right to bring it back there.”

A station frozen in time

Lower Bay Station has been closed to regular service for nearly six decades, following a change to the TTC’s train routing system shortly after it opened. Since then, it’s mostly been used for film shoots, TTC training, and the occasional special event — along with a long-running reputation among locals for being haunted. For one night, the platform became a live venue, with a DIY stage set up in the middle of the tracks and the crowd gathered close, Revett’s vocals carrying down the tunnel in every direction.

What the album is about

Despite the setting, I Don’t Know Where I Left My Body isn’t a literal record about transit. Revett has described the songwriting as anything but direct — the album carries “an element of being in transit,” but its real subject is identity, and the long, uneven process of finding it. Much of that writing happened the same way: one hour-long commute at a time.

It’s a fitting throughline for an artist whose work has consistently returned to questions of gender and mental health, filtered through big, hook-driven pop songwriting rather than anything austere. For a look back at where that voice started, Divine spoke with Revett in an earlier interview, years before this record came together.

Where to hear it

I Don’t Know Where I Left My Body is out now on streaming platforms. For more on the July 20 concert itself, TorontoToday’s gallery and recap captures the scene inside the station, and Streets of Toronto’s original announcement has more on how the venue came together.

https://www.instagram.com/foxrevettmusic

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Anders is the creative force and technical architect behind Divine Magazine’s editorial identity. Blending Scandinavian minimalism with a sharp instinct for digital storytelling, he shapes the magazine’s voice, visual rhythm, and structural clarity. His work moves between worlds — part editor, part engineer — ensuring every article is not only beautifully crafted but technically flawless beneath the surface. From SEO frameworks to asset design, from WordPress architecture to the magazine’s cinematic featured imagery, Anders builds the systems that let stories breathe. He curates Divine’s tone with intention: clean lines, honest language, and a commitment to elevating everyday subjects into something quietly extraordinary. Whether refining editorial workflows or sculpting the magazine’s long‑term creative direction, Anders brings a steady hand and an eye for detail — the kind that turns a publication into a signature.