Emo's Not Dead Cruise 2027

“Yellowcard is suddenly huge again.” – Rolling Stone

Yellowcard meant it when they said goodbye. The lights dimmed on one of the most beloved pop-punk and alt-rock bands of the 2000s with intention and authenticity. Wrapping things up with a farewell tour, Yellowcard exited the “right” way, with grace, appreciation, and finality.

But the story wasn’t complete. Legacy cracked the door. Healing blew it wide open.

Riding a resurgence that saw the global Ocean Avenue 20th anniversary tour featured in Forbes and a reconciliation that put all four members at peace with their legacy and each other, Yellowcard just made the most ambitious and emotionally resonant record of their career. Better Days, the band’s first album in nearly a decade, was produced by blink-182’s Travis Barker, who also played drums on every track.

Better Days is an unflinching reflection on gratitude, forgiveness, perspective, and purpose. Once ubiquitous on MTV and the Billboard Hot 100, the Vans Warped Tour veterans, whose first two albums produced double-platinum and gold title tracks, sound fully recharged and revitalized in 2025. William Ryan Key, Sean Mackin, Ryan Mendez, and Josh Portman have never sounded stronger.

Ocean Avenue is regarded as a genre classic. In recent years, Kerrang! placed it on its list of the 21 Greatest Rock and Metal Albums for Summertime, alongside milestone records from Guns N’ Roses, Van Halen, and Beastie Boys. The title track appeared on the same magazine’s The Story of Pop-Punk in 16 Songs, a list stretching from Green Day and blink-182 to Machine Gun Kelly.

Riot Fest knocked on Yellowcard’s door with an amazing opportunity in 2022. Some of the band’s members hadn’t spoken to each other in six years. Conversations were had. Wounds were healed. What began as a one-off reunion became a full-blown Ocean Avenue 20th anniversary tour, appearances at other major fests like When We Were Young, and a trek with Third Eye Blind. They contributed to Disney’s A Whole New Sound (featuring guest vocals from Chrissy Costanza) compilation and released the self-produced Childhood Eyes EP.

The band agreed that making a new album was pointless unless it was the best of their career. They refused to rush the process and, for the first time, gave themselves permission to ask for help. Mendez invited his longtime friend and former bandmate Nick Long (Linkin Park, blink-182, mgk) into the writing sessions. Long introduced Barker to the project, and he soon asked to produce the whole thing.

It’s an album born from humility, resilience, and raw honesty. Barker helped Key face some of the same insecurities and impostor syndrome that plagued him as far back as the Ocean Avenue era.

The band’s first release with powerhouse label Better Noise Music, Better Days is Yellowcard’s testimony that healing is a process, growth is nonlinear, and sometimes the best chapter opens after the supposed ending. This isn’t just a return. It’s a reckoning. And this time, Yellowcard is ready.

After fulfilling their most recent record deal with the release of their seventh studio album What It Means To Fall Apart, Mayday Parade decided to take things into their own hands so they could operate to release music on their own terms and timeline. It’s a space the band hasn’t fully existed in since their self-released debut EP, which sold 50,000 copies without the support of a label. Alex Garcia said their first single, “More Like A Crash” is about the chaos and pain of endings, especially regarding personal relationships. Despite how beautiful something could be at one time, often at its end there’s just bad feelings and a sense of being lost in the wreckage.”

The pivot brings some much-needed flexibility in support of their personal lives. “It’s extremely exciting and terrifying all at the same time” shares Jake Bundrick. “There’s obviously a lot more freedom and control,” adds Alex Garcia. That freedom, as Jeremy Lenzo explains it, will allow them to “release new music more consistently as opposed to dropping an album every couple of years.” As such he continues, “we’re going into this with the mindset that each song really needs to stand on its own.”

With that in mind, the band have taken their time when it comes to deciding what to record and release. “We always stew on the songs we’re working on to make sure they’re ready to be recorded,” explains Lenzo, “so sometimes you end up sitting on an idea for a while until it comes to fruition. “Sonically,” shares Bundrick. “I wanted energy from this new batch that still felt angsty but had our emotional flair to them. It’s been a while since we’ve put out some up-tempo songs and that was important to me.”

The forthcoming releases and touring marks the latest chapter in the long history for the beloved Tallahassee band, who are approaching nearly two decades of playing and releasing music together. Such longevity is a feat in and of itself, and one the band doesn’t take for granted. “We started this band when we were all fresh out of high school,” shares Lenzo. “I think a large part of why we are all still here is that we have been friends most of our lives, even before the band.” Garcia agrees, noting that “this is everyone’s full time job and passion. We all love playing music, so the fire is still alive. We have created something important to us and it’s imperative that we maintain it by giving it the requisite attention.”

Mayday Parade cannot wait to share that enthusiasm with their fans this summer as they release new music and hit the road. Their next single is "Pretty Good To Feel Something” and comes out as the band heads out coheadlining this summer’s Sad Summer Festival with longtime friends The Maine. “This is a song about bad things happening that alter your life and how eventually you have to let those things go and move forward. It’s about appreciating what’s left after it’s all said and done,” says Derek Sanders.

“We all feel really good about these new songs and are excited to see the fan’s reaction to them” shares Garcia. “It’s always fun to be out on tour in the summer, there’s always such a great energy and I’m excited that Mayday will be part of people’s experience this season.”

Underoath has been a seminal voice in progressive, heavy rock for almost two decades. When you look at the long list of bands that would be considered their contemporaries, very few can match Underoath when it comes to consistently pushing the envelope or the ability to evolve creatively without losing sight of what made them such a special band in the first place. This far into their storied career, the band has unsurprisingly faced their fair share of adversity. But through the trials and tribulations, a commitment to their craft and a sense of accountability rooted in mutual respect for each other has ensured that each new chapter for Underoath continues to shape their legacy in a positive fashion.

In 2020, as a global pandemic shook the foundation of the music industry, Underoath once again blazed a new path forward with their critically-acclaimed Observatory livestream. As interest in the digital consumption of live music seemed to be waning, the band breathed new life into the realm with a complete overhaul of the process – creating something equal parts intimate and monumental. It carried the weight of a sold out arena show translated through vessels consumable in fan’s living rooms. What made it all the more impactful was the fact that the entire initiative was dreamt up and brought to fruition largely by the band’s internal team. Thus, providing another shining reminder of the innovation that the six members on Underoath are capable of pulling together.

On the band’s 2018 Fearless Records debut, Erase Me, we saw a new side of Underoath. Having already established themselves both as melodic songwriters (2004’s RIAA-Certified Gold record They’re Only Chasing Safety) and as ambitious power merchants (2006’s gold-selling Define The Great Line and the majestic follow-up Lost In The Sound of Separation in 2008), the evolution detailed on Erase Me found Underoath using meticulously crafted sonic dialects that painted a vivid picture of how the band had grown artistically in the long layoff since their previous record.

With their shared history of remarkable accolades and trying hardships continuing to shape who the individual members are as people, Underoath is still just scratching the surface of what they can accomplish as a band. There are few acts in the annals of rock history that can say their best work is still ahead of them almost two decades into their career. Fortunately, Underoath falls into that category. As the world opens back up in 2021, the band is deeply committed to living up to the high expectations that fans (and themselves) have come to expect for anything associated with the project. It will undoubtedly be something special to witness as this next chapter in the Underoath story manifests.

Dance Gavin Dance is an American post-hardcore band from Sacramento, California, formed in 2005.

The current lineup includes unclean vocalist Jon Mess, lead guitarist Will Swan, clean vocalist and rhythm guitarist Andrew Wells, and drummer Matthew Mingus.

The band has released ten studio albums, with their most recent, “Jackpot Juicer,” released in 2022, and with their 11th just being completed and set for release in mid-2025.

Dance Gavin Dance is known for their unique blend of post-hardcore, experimental rock, and progressive elements, maintaining a dedicated fan base and a dynamic presence in the music scene.

For the past two decades, Silverstein have relentlessly pushed themselves to become the best version of the band for both themselves and their fans. That determination has led the Ontario-based five-piece from their underground roots to becoming one of the most influential bands in their scene, playing two thousand-plus shows all over the globe, and selling over a million records. Now Silverstein are celebrating their 20th anniversary with the release of their 9th, and perhaps strongest album to date: A Beautiful Place To Drown. While many bands would take their 20-year anniversary as an opportunity to rest on the laurels of nostalgia, Silverstein (vocalist Shane Told, guitarists Paul Marc Rousseau and Josh Bradford, bassist Billy Hamilton, and drummer Paul Koehler) see the landmark as a time to appreciate how far they’ve come, while also channeling all those years of experience into something new. A Beautiful Place To Drown finds the band deftly balancing their core sound—an intensely dynamic mix of melody and aggression, rooted in the energy of hardcore punk and the unabashed earnestness of emo—with their natural growth as songwriters and evolving inspirations.

DON BROCO are a band that constantly defy categorization. Since forming in 2008, the English act—vocalist Rob Damiani, guitarist Simon Delaney, bassist Tom Doyle and drummer/vocalist Matt Donnelly—have been creating innovative music that effortlessly merges elements of metal, post-hardcore, and electronica, into a unique amalgam of music all their own. “I love being surprised and I love music taking turns that you wouldn’t expect,” Damiani explains. “When you’re writing a song you have a million options and it’s always the paths that lead somewhere unexpected that get me the most excited.” While this flair for experimentation has always been a hallmark of DON BROCO’s sound, the band’s Fearless Records debut Nightmare Tripping sees the quartet creating the heaviest and most nuanced album of their career. It also illustrates why the band have sold out venues like Wembley Arena and Alexandra Palace in the UK; performed to frenzied crowds at Download and Reading & Leeds Festival; headlined Slam Dunk Festival; and toured alongside Pierce The Veil, Bring Me The Horizon and 30 Seconds To Mars.

To record Nightmare Tripping the band once again reunited with longtime producer/collaborator Dan Lacaster, who has gone on to work with everyone from Bring Me The Horizon and Muse since getting his start working on DON BROCO’s debut full-length Priorities in 2012. “It’s been so awesome to see Dan’s growth as a producer and musician in his own right,” says Damiani. “He’s also one of the best singers I’ve ever heard in my life which is great because it really pushes me and Matt to up our game in order to live up to that.” While the band’s last album, 2021’s Amazing Things has been streamed 57 million times, the band didn’t try to replicate that album this time around. Correspondingly, one of the most dramatic sonic shifts on Nightmare Tripping is the way that Damiani is able to further integrate screaming into the band’s sound. “It’s something I’ve always done live, but I found myself embracing that style on this album in a way I haven’t done in the past,” he explains. “Embracing those harsher vocals has been exciting for us creatively.”

In that spirit, the infectious track “Cellophane” sees Damiani alternate between melodic vocals and throat-shredding gasps while “Disappear” sees him using his voice as another instrument that parallels the vibe of the music, which ranges from dance-inspired to straight-up demonic. “This is probably our darkest album yet and it’s definitely lost some of the positivity of Amazing Things,” Damiani admits. “I’m a very positive person in general and I’m always trying to find silver linings, but that’s not a fix-all tool.” From the rising popularity of fascism in Europe to the genocide in Palestine, many of the lyrics on Nightmare Tripping were driven by Damiani’s attempt to cope with a world that seemed to be descending into chaos. That said, the album isn’t all doom and gloom. “One song that’s very important to me is ‘Pacify Me’; it’s about finding the courage in yourself to speak out about things that are important to you. Hopefully the song can provide some positivity to people who are feeling the same things as me.”

Nightmare Tripping also features some star-studded collaborations from the legendary rock act Nickelback (“Nightmare Tripping”) as well as Architects’ vocalist Sam Carter (“True Believers”). “I always had Sam in mind for ‘True Believers; ’it’s one of the angriest songs on the album and Sam stands for the same things that we do,” Damiani says. (Amazingly, Carter recorded his standout vocals for the song during the one day off he had back in the UK while supporting Linkin Park on their European tour.) The other notable collaboration came about because it turned out Nickelback were DON BROCO fans and reaching out to the band wanting to tour together. While the tour wasn’t able to happen due to logistical reasons, they were able to collaborate on this album for a song that further pushes the conventions of DON BROCO’s sound. Correspondingly, “Nightmare Tripping” both features a radio-ready chorus as well as earth-shaking breathdown that are certain to inspire mosh-pit theatrics around the world in a live setting.

Ultimately with Nightmare Tripping, DON BROCO have successfully redefined their sound while staying true to their past, something that Damiani credits to the deep connection its members have forged since starting the band as teenagers. “As a band all four of us have very strong feelings when it comes to our songwriting, which is why it can take so long to write a record compared to other bands,” he explains. “As long as we keep our communication open and allow everyone’s ideas to be heard, things work out for the best.” That ability to listen to each other and not be closed off to unorthodox ideas lies at the core of what makes Nightmare Tripping such a powerful and groundbreaking release. DON BROCO isn’t one person, it’s the cumulative vision of all of the members of the band—and it’s a message that the world very much needs to hear right now.

Since forming in 2003 at school in their hometown of St Albans, U.K, Enter Shikari has, thus far, released seven full-length studio albums; TAKE TO THE SKIES (2007), COMMON DREADS (2009), A FLASH FLOOD OF COLOUR (2012), THE MINDSWEEP (2015), THE SPARK (2017). NOTHING IS TRUE & EVERYTHING IS POSSIBLE (2020), and the latest, A KISS FOR THE WHOLE WORLD which was released Friday 21st April 2023.

All seven albums debuted in the UK Album Chart top 5 “midweeks”, with 2023’s ‘A Kiss For The Whole World’ finally scoring the band their first ever UK Album Chart #1 record. Enter Shikari have been recipients of multiple awards and topped many a magazine reader’s poll, picking up ‘Best Live Band’ gongs like there’s no tomorrow, as well as a plethora of ‘Best UK Artist’ and ‘Best Album’ statuettes, from the likes of Kerrang!, Rock Sound, the Heavy Music Awards and NME.

Summer 2020 saw the band announce a partnership / shirt sponsorship with local football team St Albans City FC. Frontman / songwriter / producer Rou Reynolds has published four books with Faber Music, the most recent (and most ambitious) being a ‘A Treatise On Possibility’ in the summer of 2021. As well as Rou Reynolds authored publications, in October 2022 Faber Music also published ‘Standing Like Statues – The Enter Shikari Biography’ written by Kerrang! Magazine editor Luke Morton.

Enter Shikari have played somewhere in the region of 3000 live shows around the globe, including three headline arena-sized tours in the UK, substantial UK / Europe arena supports in their early career with The Prodigy, Linkin Park and 30 Seconds To Mars, and more big and small festivals worldwide than it would be possible to list. The band’s last full U.K tour (December 2021) sold out across the board, including the band’s fourth headline show at London’s 10,000 capacity Alexandra Palace.

2023 kicked straight off with Enter Shikari releasing the single ‘(pls) set me on fire’ in January, accompanying an announcement of their new album, and what became known as the Residency Tour, which took in five British cities over the course of one week, repeating for three months. In May 2023, Enter Shikari announced UK arena tour dates for 2024, including the band’s first ever Wembley Arena show. In recognition of the grassroots touring scene which birthed the band, the band has pledged £1 from every ticket sale for the tour to be donated to the Music Venue Trust to support grassroots music venues in the UK. The band also announced a short European run, including the largest German and Netherlands shows Enter Shikari has played thus far. The band kicked off festival season for summer 2023 by headlining the UK’s Slam Dunk Festival in Hertfordshire and Leeds.

ENTER SHIKARI is ;

Rou Reynolds – vocals / electronics

Rory Clewlow – guitar / vocals

Chris Batten – bass / vocals

Rob Rolfe – drums / vocals

We Came As Romans continue to progress and evolve at lightspeed, maintaining a place at the forefront of heavy music and culture.

Never content to follow, they seamlessly alchemize crushing groove-driven catharsis, spacey electronics, and arena-size singalongs into a sound that refuses to sit still, naturally dipping in and out of metal, alternative, hardcore, and rock without breaking a sweat. Since emerging in 2005, the Michigan quintet—Joshua Moore [guitar], Dave Stephens [vocals], Lou Cotton [guitar], Andy Glass [bass], and David Puckett [drums]—have pushed the envelope. Following To Plant A Seed [2009] and Understanding What We’ve Grown To Be [2011], Tracing Back Roots cracked the Top 10 of the Billboard 200 and catapulted to #1 on the Independent Albums Chart and Top Hard Rock Albums Chart in 2013. Two years later, We Came As Romans bowed at #11 on the Billboard 200, while Alternative Press hailed 2017’s Cold Like War as “a milestone for WCAR.” Along the way, they sold out successive headline tours and shared stages with A Day To Remember, Bring Me The Horizon, I Prevail, The Used, Sleeping With Sirens, Parkway Drive, and more.

During 2018, the group weathered the tragic loss of original clean vocalist Kyle Pavone. However, the musicians kindled a newfound strength in the wake of Kyle’s passing. This energy surged through Darkbloom in 2022. Produced by Drew Fulk [Knocked Loose, Lil Wayne, Disturbed], it earned some of the highest praise of their career. Beyond applause from Loudwire, Consequence, and more, KERRANG! rated it “4-out-of-5 stars,” going on to praise the LP as “both a carrier for a knot of emotion, and a tribute to their friend.” Not to mention, it yielded two of the most successful tracks of their career. “Black Hole” [with Caleb Shomo of BEARTOOTH] eclipsed 102 million-plus Spotify streams, and “Daggers” [with Zero 9:36] generated north of 32 million Spotify streams.

Moving forward yet again, they ignite another era with the 2025 single “BAD LUCK.” On the track, an electronic vocal loop gives way to a thick and trudging battering ram riff. A head-nodding rhythm seethes beneath the verses as Dave wonders, “Been fighting for space with all the same ghosts, am I spinning out of control?” It culminates on a chantable chorus, “I spent all my life wondering why the bad luck always comes so easy…All this time, I’ve realized the worse things in life are free.”

About “BAD LUCK,” the Dave said, “Bad Luck is a song that is so important to each of us. Lyrically, it’s about our journey as a band since the very beginning. We’ve faced so many setbacks and problems behind the scenes, and sometimes it feels like Bad Luck is all we have - but the way that we’ve persevered through all of them to become who we are today is the real story, not the issues along the way."

As always, We Came As Romans level up again with more music to come in 2025 and beyond.

Hawthorne Heights, formed in Dayton, Ohio in 2001 , built their reputation on emotionally raw songwriting, blending the urgency of post-hardcore with the melodic sensibilities of early 2000s emo and punk. Frontman JT Woodruff’s lyrics often explore themes of distance, identity, and perseverance, drawing on both personal experiences and the band’s deep roots in the alternative music scene.

Throughout their long and storied career, Hawthorne Heights have overcome obstacles at every turn – but these challenges often came from external forces, from unscrupulous record labels and shifting musical trends to unimaginable personal tragedy that threatened to derail them.

Despite the odds, the quartet — JT Woodruff (vocals, guitar), Mark McMillon (guitar, backing vocals), and Matt Ridenour (bass, backing vocals) — has persevered. They’ve earned two Gold albums (The Silence in Black and White, 2004, and If Only You Were Lonely, 2006), written some of the genre’s most enduring anthems (“Ohio Is for Lovers,” “Saying Sorry”), and remained a relentless touring force nearly two decades after their formation.

In 2026 Hawthorne Heights will be celebrating 20 years of If Only You Were Lonely.

Formed in 2003 in Orange County, California, Saosin quickly emerged as a powerful voice in the post-hardcore and alternative rock scenes. With their debut EP Translating the Name, they gained immediate underground acclaim, marked by technical instrumentation and emotionally raw lyrics. Following a shift in vocalists, Cove Reber joined the band and fronted their breakout self-titled album in 2005, which featured genre-defining tracks like “Voices” and “You’re Not Alone.” The album's success propelled Saosin into mainstream recognition, earning them a dedicated global fanbase and cementing their status as one of the most influential bands of their era.

Since reuniting with vocalist Cove Reber in 2024, Saosin has reignited the fervent energy that defined their most influential years. Reber, whose voice helped propel the band to iconic status during the mid-2000s post-hardcore explosion, returns with a renewed sense of purpose and passion. The band's signature blend of soaring melodies, intricate guitar work, and emotionally charged lyrics has found fresh resonance with both longtime fans and a new generation discovering their catalog. This new era doesn't just feel like a reunion—it feels like a powerful reawakening of everything Saosin stands for.

With Reber back at the helm, Saosin is not merely revisiting the past—they're redefining their future. The chemistry among the original lineup has sparked creative momentum, leading to new material, revitalized performances, and expanded vision, including a multi-day festival that honors their legacy and community. The band is once again a driving force in post-hardcore, proving that while time may pass, authenticity and connection endure. This chapter in Saosin’s journey is both a homecoming and a launching point for what’s next

For a number of years, this would have been an almost-blank page. Back in the mid-2010s, a few years after The Wonder Years had first formed in Lansdale, PA, just north of Philadelphia, the band would be asked to provide a bio for events they were playing. All Dan Campbell would write was ‘The Wonder Years is a band’. That was it. They’d then receive the programs for whatever festival or event it was for and laugh. Most bands, the frontman remembers, would write a “full page thing about how their last record charted and ours would just be a blank page with those six words at the top.” A lot of Mme has passed since then, and a lot has changed, although also not that much, at the same Mme. If The Wonder Years – completed by guitarists Matt Brasch and Casey Cavaliere, drummer Mike Kennedy, bassist Josh MarMn and keyboardist/multi-instrumentalist Nick Steinborn – could get away with a six-word bio, they probably would.

As it happens, when it comes to The Hum Goes On Forever, context is important, which is why you’re reading these words. The most important reason is that this is the first record the band has made since Campbell became a father. And so, when he sings its very first words – ‘I don’t want to die’ – on its very first song, “Doors I Painted Shut”, they shimmer with a little extra poignancy and potency. Because as someone who has sung candidly about how despondent he’s felt at Mmes, thoughts of unexistence are no longer possible. It doesn’t mean they stop, but Campbell can no longer succumb to the abject malaise they induce.

“You’ve got to pull it together,” he says, “because your kids are counting on you. These things that feel hopeless – these massive cultural and societal, full-populace problems like climate change and school shootings, all the things that you’re afraid of for your children – well, they only get fixed if you fix them. ‘I don’t want to die – because I’ve got to protect you.’ It would be very easy to give in to the depression and just kind of lay there, but my kids are counting on me, so I have to try to pull myself together and do the work. ”

That, then, is the crux of this record: his survival is more important than it ever was before. As Campbell phrases it, “How do you take care of someone else that needs you when there are days that you barely want to exist?” Now that he’s a father, the answer is a lot simpler than it used to be. Quite simply, he doesn’t have a choice. Rather, he has to press on against the noise that’s been inside his brain for as long as he can remember. That’s what the ‘hum’ of this album’s title is. Taken from a poem he wrote for Sister Cities, it is, he says, a representation of the gloom he tends to carry with him.

“Even when it’s not constantly in my face,” he admits, “there’s always a low hum of sadness, a low rumbling of ennui. So The Hum Goes On Forever is the understanding that I’m always going to have it, it’s always going to be there, it’s always been there for literal generaMons of my family and it’s important that I accept that and live and work through it.”

The Hum Goes On Forever, then, is the sound of The Wonder Years navigating those dark, cold waters, bringing that ever-present pulse in the back of Campbell’s mind to vivid life, while also pushing it as far back into his skull as it will go. It’s the kind of effect that’s only achievable through true collaboration and understanding, something that defines how the band has operated from its inception. The six-piece wrote the bulk of these songs in a farmhouse in the middle of Pennsylvania in the winter of 2021.This was before vaccines were widely available, so they all quarantined for 14 days first. Then, after getting vaccinated, they wrote together again in March, April and May, before tracking songs in June. Initially, the idea was to just make an EP with Will Yip, but it instead became their seventh album, finished with Steve Evetts, after the band decided the songs would be under-served on an EP. The result is a record that captures the taught, fraught uncertainty of the period in which they were written, but also travels back in time and memory to uncover and dwell on and inhabit leftover remnants of the past. It serves, too, as a revealing representation of how the six lives that constitute The Wonder Years interact with each other. That happens both inside and outside of the band, obviously, but in terms of the former, they’ve all grown together immensely as musicians. It means the band knows when to be restrained and when to explode, filling in space and emptiness as needed to create a record that mirrors, sonically, the heart-torn urgency at its core, the way these six individuals interact with each other, each an essential component of a greater whole - as well as the next evolution of a band that’s never stopped growing, never stopped striving, never stopped searching for the truth and the heart of this dumb thing we call life.

It would be easy to talk about how specific songs do that, but that would also kind of defeat the point of this record. Because this is a complete journey and should be taken in as such. It begins in August and ends in June and traverses years and decades, as well as the constant cycle of sadness and healing within them. Except it never quite gets there. The hum is never totally shaken off. “Because the tagline for The Upsides was ‘I’m not sad anymore’,” Campbell explains, “I think people were like, ‘This is the guy who used to be depressed.’ But obviously that never goes away. It’s a constant, and you basically have to co-exist with your sadness. It won’t go away, but that doesn’t mean that people don’t rely on you and that you can stop. As we’ve continued to make records, that’s manifested itself in different ways, but I don’t think ever as clearly as it has on this record. This one is more clearly about me struggling and floundering and drowning at points. In fact, I think it’s maybe even the most revealing in a lot of ways. There’s things I’m singing about on this record that I wouldn’t have had the guts to confront in myself prior to it – like being this open about how low I had goTen, starting in late 2019 and then tumbling into a pandemic, and just thinking and thinking and thinking….”

There’s a lot of thinking on this record. A lot of thoughts. But the main one, the important one, is that very first line of the first song: I don’t want to die. It’s something he repeats and reiterates on final track “You’re The Reason I Don’t Want The World To End”, which addresses the change in Campbell’s purpose since becoming a dad. That’s obvious enough from the title alone, but with the final line – inspired by gardening with his first son during the pandemic – the message becomes truly clear: ‘Put the work in, plant a garden, try to stay afloat.’ It’s a reminder to himself, but it’s also for anyone who listens, anyone who needs it, everyone who’s grown up with the band and has sought, and continues to seek, refuge in their songs. Because, yes, The Wonder Years is a band. But it’s also much, much more than that.

Travie McCoy, the charismatic frontman of gymclassheroes. and a celebrated solo artist, is reinvigorating his career in 2025 with the relaunch of gymclassheroes. as a solo project. Rising to fame in the 2000s, gymclassheroes. reshaped alternative hip-hop with genre-defying hits like “Cupid’s Chokehold” (3x Platinum) and “Stereo Hearts” (5x Platinum). McCoy’s unique ability to blend introspection, humor, and swagger in his lyrics made him a standout, while his solo career, highlighted by the global hit “Billionaire,” showcased his versatility and creative growth.

Kicking off this reboot, McCoy is leading gymclassheroes. into a bold new era, preparing to release highly anticipated new music and embark on tours around the world. The project will combine reimagined classics with fresh, innovative tracks that explore themes of resilience and transformation. Culturally impactful collaborations, electrifying performances, innovative storytelling, and a fearless approach to his craft promise a dynamic and diverse sound that reflects McCoy’s artistic evolution while honoring what made gymclassheroes. a beloved name in music.

In 2025, Travie McCoy is not just revisiting his past achievements—he’s reimagining them for a new generation. Through dynamic performances, groundbreaking collaborations, and a renewed focus on storytelling, McCoy is proving his creativity and genre-crossing artistry remain as impactful as ever. Fans can look forward to an exciting year of music that bridges the familiar with the fresh, solidifying McCoy’s role as a trailblazer in the music world.

“Nobody is gonna hit as hard as life. But it ain’t about how hard you hit. It’s about how hard you get hit and keep moving forward.” Perhaps no band represents the spirit of that famous line from Rocky Balboa better than The Ghost Inside, the metalcore force whose songs of resilience, perseverance, and vulnerability are born from genuine life experiences.

Captivating and cathartic bangers like “Engine 45,” “Avalanche,” “Aftermath,” “Wash It Away,” and “Pressure Point” are anthems for outcasts. Since their formation in El Segundo, California, they’ve inspired international audiences with sincere passion and determination. As the band proclaimed in 2014’s “Mercy”: “Life’s swinging hard, but I’m swinging harder.”

A harrowing bus crash was a defining moment for the band in 2015, but it didn’t define them. When the group reemerged in 2020 with their first new music following the accident, the triumphant celebration was cut short by the pandemic. But setbacks and obstacles from without and within never dampened their energy. The Ghost Inside is stronger than ever.

The lesson isn’t only about strength through adversity. In recent years, vocalist Jonathan Vigil, guitarists Zach Johnson and Chris Davis, bassist Jim Riley, and drummer Andrew Tkaczyk learned an esoteric truth about tranquility. As the axiom says, it’s the journey, not the destination, a theme throughout the band’s dynamic sixth album, Searching for Solace.

“People always ask me how I remain positive,” Vigil says. “I’m realizing now that there’s never really a time where you reach that point of ‘happiness.’ It’s a constant journey. I know that life is hills and valleys. You must be willing to embrace new things, stand up for yourself, and adapt. Because the goalposts just move further away. The search for solace never ends.”

The Ghost Inside merges the New Wave of American Metalcore’s proficiency with punk’s urgency, building a bridge between more aggressive sounds and thoughtful messaging. Melody is another constant, explored to dizzying new heights in Searching for Solace.

A highly collaborative effort equally unafraid to embrace darker themes and expanded sonic landscapes, Searching for Solace is nevertheless a quintessential album from The Ghost Inside.

“Going Under” opens the album with confessional self-reflection. As Vigil explains, the song is about overthinking, “getting stuck in your head,” becoming one’s own worst enemy. “Wash It Away” is about the realization that anything, even the band, can quickly disappear.

“There’s more singing and song structure than on the previous album, but there are also some of the heaviest songs we’ve done,” notes Riley. “We really know who we are, and we also feel comfortable stepping into the future. This is a new chapter, but it’s not disconnected from what the band sounded like before. It’s more of an extension of it. We’re excited by it.”

Adds Tkaczyk: “This is the record we wanted to make. We didn’t limit ourselves or try to cater to anything. All these songs fully happened organically. There’s an updated and mature feeling to the record, but at the same time, this inexplicable, almost ‘nostalgic’ factor.”

Dan Braunstein (Spiritbox, Dayseeker, Silent Planet) produced most of Searching for Solace. Cody Quistad (Wage War) handled two of the tracks. The band also worked on one song with Carson Slovak and Grant McFarland (August Burns Red, Bloodywood, From Ashes To New).

Vigil says the most essential elements of The Ghost Inside remain honesty and vulnerability, the message, and the melody. “Our band’s core values and ethos haven’t ever changed.”

Fury and the Fallen Ones (2008) and Returners (2010) preceded The Ghost Inside’s breakthrough album on Epitaph, Get What You Give (2012). Goodwill, momentum, and engaging live performances continued behind the conceptually driven Dear Youth (2014).

In late 2015, while driving outside El Paso, Texas, the band’s tour bus collided with a tractor-trailer, killing the drivers of both vehicles on impact, and severely injuring the band and their crew. Kerrang! called The Ghost Inside’s return to the stage nearly four years later “Rock’s Most Miraculous Comeback.” Their historic gig in Los Angeles, chronicled in Rise from the Ashes: Live at the Shrine, sold out so quickly that it had to be moved to the parking lot.

A reflective and defiant fifth album, recorded in 2019, arrived in June 2020. “The Ghost Inside’s devastating bus accident may have broken their bodies, but it didn’t break their spirit,” Revolver Magazine wrote upon the release of the band’s self-titled comeback. In a 4-star review, NME heralded the “metalcore heroes’ stunning testament to strength and bravery.”

Loudwire included The Ghost Inside among the Best Rock and Metal Albums of 2020. Performances at the world’s most important rock and metal fests and a tour supporting A Day To Remember demonstrated the band’s continued relevance with fans, both old and new.

The group unleashed the first taste of Searching for Solace, an urgent admonishment of entitlement called “Earn It,” in the summer of 2023 in the run-up to their co-headlining tour with Underoath. “Nothing worthwhile is ever gonna be handed to you,” Vigil explained.

“Death Grip,” one of the album’s most blistering outbursts, followed. “’ Death Grip’ is a song about survival and defying your fate to create your own destiny,” said Vigil. “When push comes to shove, believe in yourself. You don’t need a lifeline when you’ve got a death grip.”

The eleven tracks on Searching for Solace collectively offer a complete picture of The Ghost Inside’s past, present, and future. “This record represents the darkest and brightest places we’ve been on our journey,” says Riley. “It’s about learning to accept good and bad equally.”

Remembering how adversity nearly washed the band away more than once over the years is an integral part of that journey. “There was a time when all five of us thought this band was over,” Vigil says. “Having a new lease on life means we won’t pander to anybody or sacrifice ourselves. If our story had ended, I would have been so sad knowing we have so much left to give, say, and do. So, we’re not going to squander it. We’re going to take it to the fullest.”

THE GHOST INSIDE IS:

Jonathan Vigil – Vocals

Zach Johnson – Guitar

Chris Davis – Guitar

Jim Riley – Bass

Andrew Tkaczyk – Drums

The Cab is an American pop-rock band from Las Vegas, Nevada, known for their emotionally rich songwriting, genre-blending sound, and sharp musicality. Since their formation in 2005, the band has carved out a lasting place in the alternative music scene—fusing sleek pop production with rock instrumentation, R&B influences, and lyrical depth.

Originally discovered by Panic and the Disco and Fall Out Boy, The Cab gained early momentum with their breakout debut album, Whisper War (2008) released through Fueled by Ramen. Achieving a #1 charting position on the Billboard Heatseekers Album Chart, Whisper War featured fan-favorite singles “Bounce,” “I’ll Run,” and “One of THOSE Nights.”

In 2011, the band made a bold creative leap with Symphony Soldier—an independently released, self-funded album that elevated their sound to cinematic levels. With songs like “Angel with a Shotgun” and “Endlessly,” the record showcased The Cab’s ambition and artistic independence, solidifying their place among the most emotionally resonant bands of their era.

“Angel With a Shotgun” established itself as a fan favorite off the record, surpassing 260M+ streams and quickly becoming the band’s most-streamed song. Despite being released in 2011, well before the days of TikTok, the song has had incredible success on shortform platforms, reaching 400M+ views across 300K+ TikTok creates to date. The song's impact on shortform platforms broke into fan subcultures, where it emerged as the de facto theme song for Nightcore, resulting in 260M+ views specifically across Nightcore UGC videos.

“Angel With a Shotgun” remains a timeless hit, recently resurging on TikTok where - in the last month alone - it shot up with 16K+ creates delivering over 43M+ views across the sound. More than a decade after its release, the song's continued relevance reinforces The Cab’s reputation in the pop-punk community and beyond.

After an extended hiatus, in 2025 The Cab have officially returned announcing their first new music in over a decade as well as live touring dates.

Diving deeper into themes of growth, reinvention, and emotional clarity, filtered through the lens of lived experience and creative maturity, their new music offers listeners the same relatable themes & cinematic energy that originally made them fans of The Cab 10+ years ago.

The band will celebrate their highly anticipated return with a new EP, titled Road To Reign: A Prelude, releasing September 26, 2025.

The band’s current lineup features the return of members Alex DeLeon (vocals), Alex Marshall (guitar, keys), Dave Briggs (drums), and Joey Thunder (bass).

The Cab is embarking on a North American tour with All Time Low in October 2025, followed by headline shows in December in Singapore and the Philippines. Their live return also features a high-profile performance at the When We Were Young Festival in Las Vegas (October 18–19, 2025)—a symbolic return to their roots in the city where it all began.

Tickets are available HERE

letlive. is

Jason Aalon Butler - Vocals

Jean Nascimentio - Guitar Jeff Sahyoun - Guitar

letlive. is a progressive soul punk band from Los Angeles, California, known for their genre-defying sound, raw intensity, and deeply human energy. Formed in 2002, the band quickly became one of the most vital and fearless voices in alternative music—fusing hardcore, punk, R&B, and soul into a singular sonic identity that defied categorization.

Fronted by the dynamic and impassioned Jason Aalon Butler, letlive. built a reputation for music that challenged both the listener and the status quo. Their songs confronted themes of identity, justice, struggle, and liberation with honesty and urgency, creating a catalog that still resonates deeply.

Their breakout album Fake History (2010) earned critical acclaim for its emotional rawness and innovation, leading to their signing with Epitaph Records, where they released The Blackest Beautiful (2013) and If I’m the Devil… (2016). Each record marked a bold evolution, expanding the boundaries of what punk, soul, and truth-telling could sound like.

On stage, letlive. became legend—known for their chaotic yet cathartic performances, where vulnerability and volatility collided. Butler’s intensity and the band’s unfiltered connection with audiences turned every show into something sacred and unpredictable.

After If I’m the Devil…, the band announced their hiatus, believing the chapter had closed. Years later, they reunited for the Sincerely Yours tour across Europe, Australia, and the United States—a tour intended as their final farewell. But somewhere in that process, something shifted. The band realized that their story—and the world—still needed more letlive.

Reignited by founding members Jean Nascimento (guitar) and Jeff Sahyoun (guitar), alongside Butler, the band has returned with renewed purpose. They are joined by Ryan Seaman (Falling in Reverse, I Don’t Know How But They Found Me) on drums and Skyler Acord (Issues) on bass.

In 2026, letlive. will continue their rebirth—joining Hawthorne Heights on tour and performing at major European festivals including Rock am Ring.

For letlive., this is not a reunion or a farewell. It’s a revival. A recognition that the energy, emotion, and empathy they bring to the stage still matter—and that the world needs what only letlive. can give.

The band grew out of high school practice sessions between guitarist Mike and drummer Matt, filling out the roster with singer Craig and bassist Jared to form Blessthefall in 2004. They released a three-track EP in mid-2005 and added guitarist Eric to form their current lineup. Phoenix-area gigs with Greeley Estates and an openly religious orientation got the band local press and a deal with Warner subsidiary, Record Collection. The band then toured with Alesana and Norma Jean across the United States and Canada. Their debut album, His Last Walk, was released on April 10, 2007, to mixed reviews. The band completed the entire 2007 Warped Tour circuit nationwide.
Blessthefall toured with Escape The Fate, LoveHateHero, and Dance Gavin Dance on the Black On Black tour during September and October of 2007.

Blessthefall was a part of From First to Last's fall headlining tour, entitled "RATHER BE SLAYIN' N00BZ" which started November 1st with A Skylit Drive, and Vanna. Then after, they went on tour with Silverstein, the tour being their first ever UK and European Tour, with their first UK show at the Colchester Arts Centre on November 16th 2007.

Formed in Atlanta in the summer of 2024, The Paradox — Eric Dangerfield (vocals/guitar), Christopher “Xelan” Bernard (lead guitar/vocals), Donald Bryant (bass), and Percy “PC3” Crews (drums) — are among the most exciting new bands in rock music.

As four young African American musicians from a city better known for rap and R&B, they are redefining the look and sound of pop-punk, tapping into the spirit of genre pioneers while keeping their eyes firmly on the future.

Their rise has been nothing short of meteoric. Within three weeks of posting their first content online, the band had already surpassed 130,000 followers. Less than a year and a half later, they are sitting at 2.1 million followers across all platforms, have landed a Billboard Alternative Airplay #1, and are touring alongside some of the biggest names in rock.

What makes The Paradox truly special is the cultural moment they represent. Pop-punk has never had a band quite like them — and audiences across race, genre, and geography have responded.

Their co-signs read like a who’s who of rock royalty and cultural tastemakers: Billie Joe Armstrong personally invited them to open a Green Day stadium show; Travis Barker jumped on their single “Bender”; Joel Madden, Jack White, Kid Cudi, SZA, and LeBron James have all publicly championed the band.

Honey Revenge is a pop-rock duo founded by Devin Papadol (vocals) and Donny Lloyd (guitar)—a kismet collaboration born when two musicians from opposite coasts crossed paths in Los Angeles. Their debut album, Retrovision (Thriller Records, 2023), earned early praise from BBC Radio 1, MTV, Rock Sound, and Kerrang! for its dynamic guitar work, playful lyricism, and pastel-soaked visual identity.

In 2025, Honey Revenge entered a defining chapter. Their single “Risk” marked a clear sonic evolution—pairing dance-pop melodies with pop-rock urgency and a message centered on self-belief and momentum. The release set the tone for a new era built for larger stages and broader audiences.

Affectionately known as “the bee band” by fans, Honey Revenge spent much of 2025 on the road, selling out headline shows across the U.S. and performing on the main stage at Vans Warped Tour, followed by a major North American support run with Spiritbox that further cemented the duo as a breakout live act. 2026 begins with a sold-out UK and European tour in January, setting the stage for the band’s biggest year to date.

The momentum continues into spring and summer with their largest headline shows yet, alongside an ambitious release schedule that includes a run of new singles like “Hot Commodity” and a full-length album release. With a sharpened visual world, anthemic songwriting, and high-energy performances, Honey Revenge continues to carve out their own lane in modern pop-rock—bold, vibrant, and built for longevity.

Hot Milk always knew that when the time came to make their debut album, they had to be ready for it. It would be their loudest statement yet of who they are and what they stand for, an opportunity to launch themselves into the upper echelons of the British rock scene. It had to be right – after all, they only had one shot at it.

They took the scenic route towards their debut, letting themselves blossom over the course of three EPs – 2019’s Are You Feeling Alive?, 2021’s I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD and 2022’s The King And Queen Of Gasoline. This constant stream of releases meant that Hot Milk were never away from the spotlight – or the stages they call home – for long. Their rise kept accelerating, taking them to stadium support slots with Foo Fighters, the Reading main stage and, most recently, a pair of headliners at London’s iconic Koko and the 1,500-capacity O2 Ritz in their hometown. Crucially, however, they were giving themselves space to find themselves as artists.

“We used the three EPs to learn what we were good at, what we liked, what we didn’t like, what we were good at, and what we wanted to explore,” explains co-frontman and guitarist Jim Shaw. “We always wanted to do a trilogy of EPs that would explore different sides of us,” adds fellow co-frontwoman and guitarist Han Mee. “We did a lot of growing up, I think, [since] the first EP and we're completely different people now.”

The irony is, however, that when the time came to make their debut, the band almost weren’t in the state for it. They had just spent three months on the road in America hoping to connect with the grassroots fanbase Han had noticed rapidly growing on social media (and squeezing in a spot on Jimmy Kimmel along the way).

It wasn’t exactly glamorous, however. “The three months weren’t easy,” Jim notes. “There were hiccups all the way through.” While they were feeling the love from the shows, it wasn’t quite enough to silence their impostor syndrome or quell their steadily mounting homesickness, and inevitably, such a long stretch of shows took an equal toll on their bodies as much as their minds.

Still, they needed an album. They were warned that the momentum that they had spent years building could falter if they didn’t put out a debut that would consolidate it. Despite that, and despite the years they had invested into readying themselves for making the album of their lives, they were both emotionally and physically spent, and the pressure of doing themselves justice on their debut further weighed them down.

“I went into a session in LA when we were starting writing and I got in there and I cried my eyes out,” Han recalls. “I was saying to my manager, ‘I need to go home. I'm burnt out, I've done three months on the road, I've not been home, I don’t know what I'm writing about. I've not had time to think about this album. I was ill because I was so run down.”

Lying on the sofa in tears, Han emptied out everything she was feeling to Zakk Cervini, who lends some co-production on select tracks, including her worry that she didn’t know what she was going to write about. Jim however, saw differently. Instead, he saw a reservoir of thoughts and emotions that the band could pour into their music. All the inspiration that they need was right there, waiting for them.

The first song that spawned from their LA writing sessions was ‘Breathing Underwater’, a song, in Jim’s words, about “feeling like you’re absolutely swamped, drowning in your own self-doubt,” which captures Hot Milk, and especially Han, at their lowest ebb.

“I wanted to run away. I felt like diving into the sea and never coming back up. I was like, ‘I don’t want to die, but I don’t want to be alive’,” she explains. “I didn’t want to feel anymore – it was all too painful to feel. I felt like a failure but I also felt a lot of pressure and I just didn’t really know what to do or where to put that.”

Creating art from that darkness, however, turned out to be a silver lining. “We got a beautiful song out of it. “That’s why art is really important – it allows you to get all those feelings out there.” That mindset also inspired the title choice. A Call To The Void is the English translation of the French phrase l’appel du vide, referring to the brain’s trick of spotting opportunities to die. It’s the eerie jolt that is felt when you stand waiting for a train and the thought that you could jump, and end your life in a heartbeat, intrudes in your head.

It’s that brief moment of being reminded of the fragility of existence.

Writing ‘Breathing Underwater’ enabled Hot Milk to break through. While still in LA, they wrote three other songs in the space of three days, and all of them, including ‘Breathing Underwater’, ended up being chosen as singles. In a way, this sudden reversal of fortune was typical for them. “We don’t do things the normal way,” Han asserts. “Stuff comes out of the woodwork out of nowhere in a way that I don’t understand sometimes. I’m not going to argue with it.” The rest of the singles walk on a tightrope between the humorous and the serious, brimming with what might be called positive nihilism. They’re not so much finding the light in the dark as they are laughing because if they don’t, they’ll cry. Take the thunderous ‘Horror Show’, for example. “This is kind of like an admittance of ‘You know what, might not be everybody’s cup of tea. Who cares?’ It’s celebrating the weird,” says Han. That defiance, however, doesn’t necessarily come from a place of self-love. “What’s the worst you can think about me?” she continues. “I’ve already thought that about myself.”

‘Party On My Deathbed’, meanwhile, fizzes with life but is ultimately powered by a sense of reckless abandon. “It’s the idea that you only live once, so you might as well live it to your absolute fullest,” begins Jim, before Han elaborates on the idea that wanting to party till you die might not just be celebratory but destructive.

“At the time that I was writing, I was becoming really involved in the underworld of Manchester and staying out till God knows what time in the morning. You don’t care anymore, you don’t care about yourself or what happens to you. You just keep going.”

Despite this, however, it’s characteristically tongue-in-cheek, with a proudly British sense of humour too inspired by some of the band’s more left-field influences. “Some of the older Slowthai and AJ Tracey lyrics are quite clever in the way they say stuff using very British slang, with twisted metaphors around everyday British life,” says Jim. “That’s kind of like what we’ve explored.”

The more alt-pop inspired ‘Bloodstream’, meanwhile, was made for creating moments on the big stages the band have always aspired to reach. “I love that song, I just think it’s a party,” Han says. “It’s my favourite because it makes me feel happy. It’s a feel good song – it’s something we’ve never done before. I felt proud of that; we really pushed ourselves with it. I think it’ll be fun to play live.”

The rest of the album was written in two other locations. Some of it was put together in a shipping container in Manchester (“We can rent them out really cheap!” Han chips in), including one of the album’s goofiest songs, ‘Alice Cooper’s Poolhouse’, which features a skit at the end from the Godfather of Shock Rock himself.

“We were sat in the studio and we had the idea of ‘Let's do all the verses with all the names of his songs, ‘Poison’, ‘Bed Of Nails’, [et cetera],” says Jim. It was intended as a joke, but wound up turning into a better song than they expected. Thanks to a few handy connections, they got him to record the skit for the end – and happily, he rather liked the track as well. “It was a mushroom trip that never ended,” Han jokes.

Other parts were written in Sweden, with a producer with a background in dance music brought on board. It enabled the band to explore elements of EDM and drum and bass that had fascinated them for years and integrate them more fully into the Hot Milk sound – rather fitting, considering their roots in a city with strong ties to the genre. Jim has a background working in warehouse projects, while for Han, raves are a major part of her Friday nights. “I would say I’m more into dance than rock music at the moment, but rock music will always be my first love, but I think it’s really important for our music to reflect who we are now as people.”

Another major aspect of Hot Milk’s sound that has helped them to hone their sense of uniqueness is Jim’s role behind the production desk. Originally, it was a role he took up out of necessity, with the band writing their earliest songs were written in bedrooms where they had limited resources, but over time, it became something he embraced. Consequently, he’s produced everything Hot Milk has released, including A Call To The Void. Although, nowadays, they’ve worked alongside other producers, they’ve found that nothing sounds quite like Hot Milk as when someone from Hot Milk is steering the ship.

Of course, it comes from a place of passion too. “I’m just a bit of a nerd,” he says with a smile. “I love fiddling with things and learning how things work. I absolutely love doing it.”

The most important thing for the band, however, is that these songs are written to scream from the speakers of the stage, and for their refrains to be screamed back at them by the adoring, tight-knit community they’ve built. “Live is where I’m happiest, live is where it’s home,” says Han. “We wrote songs with the intention of people going off, making you feel good, opening the pit up, letting go, crying, getting on your mate’s shoulders. It’s been like, ‘What do people want to feel at a show?’”

She smiles. “It’s church for us.”

The Fall of Troy is an American post-hardcore band from Mukilteo, Washington. The band is a trio consisting of Thomas Erak (guitars, vocals, keyboards), Andrew Forsman (drums, percussion) and Jon-Henry "Hendo" Batts (bass, screamed vocals).

Performing with Emo Orchestra

A musical endeavor born on the Great Plains of South Dakota, The Spill Canvas has endured for over two decades because of the fans who provide the lifeblood to keep this machine running. Listing more accolades and successes here feels lame and overdone. At its heart, the purpose of the band remains the same as when it began – to write songs that move people and to connect with them via the powerful universal language of music.

Performing with The Spill Canvas

For emo music lovers and orchestra aficionados alike, Emo Orchestra is a new live experience that brings some of the most beloved emo songs of your youth to the theater stage with a full orchestra arrangement.

Emo Orchestra welcomes THE SPILL CANVAS as their featured guest. Fans will hear THE SPILL CANVAS perform their own hits as well as songs by Taking Back Sunday, Fall Out Boy, The Used and many more.

The two young dudes at the center of girlfriends have packed several lifetimes’ worth of success, heartbreak, and redemption into their first couple of decades on earth. Now, they are bringing it back to the start, with the caffeinated pop-punk style that first inspired them. Nick Gross (Big Noise, Gross Labs, Find Your Grind) and Travis Mills (musical artist, Beats 1 Host, actor) have made multiple realms of media their own, but music is at the heart of it all. Pulling from influential artists like blink-182, 5 Seconds Of Summer, The 1975, Phoenix and All Time Low, girlfriends is destined to cross boundaries and inspire massive sing-alongs with energetic hooks, fury, and optimistic swagger.

Gross and Mills first walked right up to the edge of rock stardom before either of them had even left their teens. The brash and catchy hip-hop Travis made in his Riverside, California bedroom and posted on MySpace as “T. Mills” led to a major label deal, a spot on the Warped Tour, and an electric buzz, presaging the era of SoundCloud emo-rap and laptop hooks that was to come. At 17, Gross found himself in New York’s Times Square playing MTV’s TRL, in a pop-punk band featured prominently on Laguna Beach: The Real Orange County, with a major label contract of their own.

In recent years, Travis experienced the loss of his close friend Lil Peep and the very public dissolution of a romantic relationship. He knew he needed a new creative vehicle to exorcise his demons. After seeing Nick drumming in an Instagram story, he called him up. It was a serendipitous conversation, as Nick (a multimedia CEO) also felt the urge to give a new pop-punk band his focus.

It was a no-brainer for the duo to enlist Feldmann, whose production and songwriting collaborations resulted in landmark albums by blink-182, 5 Seconds Of Summer, and The Used. girlfriends songs are urgent in their authenticity. They are forthright and totally adrenalized.

Like the punk rock music that first inspired him as a teenager, Mills sees girlfriends as an outlet for soulful expression and emotional catharsis, a means to process his feelings of grief, uncertainty, and renewed vigor for life, in a way that’s likely to connect with others who struggle. Nick is equally enthusiastic to have another crack at pop-punk, the genre that first set him on his career path.

girlfriends is old-school yet post-modern, vulnerable yet volatile, and altogether inspiring.

Sometimes things go wrong. No matter the resistance, some paths careen towards places you never wished to travel. Earlier this year, Aaron Gillespie went there. He experienced what he can only articulate as “a tumultuous time of life turned upside down,” and as he pulled himself out of personal wreckage, few people came to his aid. Left alone, Gillespie went to his studio. “I started writing this record when I was mourning,” he explains. “It’s been a really weird year, and healing comes differently to people. This helped me cope.”

In the early months of 2016, when the mire was thick, Gillespie spent four days in his studio recording. Although he’s been a successful musician for years (playing with musical outfits Underoath and The Almost), his newest solo pursuit showcases his musicianship in a new light. When you listen to Out Of The Badlands, you’ll be listening to Aaron Gillespie’s most vulnerable project to date.

The record is a compilation of reworked past releases, covers, and original songs, all of which were recorded and produced by Gillespie himself. “The production shows where I was at the time. I didn’t need any noise in my life, I didn’t need anything fake. There’s no programming,” he explains. “I did it all myself. It’s as naked as I could get it to be. It’s raw and honest—it’s what I sound like at my worst, with a broken heart.”

The covered tracks from Underoath—“A Boy Brushed Red” and “Reinventing Your Exit”—are, to Gillespie, sacred and nostalgic. His other songs, like the cover of The Almost’s “Say This Sooner,” include honest lyrics he still needs to sing. His original songs, however, are too sentimental to discuss. “‘Raspberry Layer Cake’ is the most honest song I’ve ever written,” he confesses, “and I won’t talk about it.”

To Gillespie, life is about what you do with the negative. Although sometimes things go wrong, and some paths end up in a place you never wished to travel, it’s up to you what to do when you get there. “When you’re really going through something,” he notes, “when you’re really being wrung over the washboard, you can find beautiful art inside yourself.” Out Of The Badlands, was released August 19th 2016 on Tooth & Nail Records, is the result of that wringing.

Chasing Victory blends emo, metal, and hard rock into a no-quarter sound with a hopeful spine.

Formed in Camilla, GA in 2001 by Adam Harrell, Jason Lowery, Jeremy Lowery, and Michael Lamb, the band signed to Mono vs Stereo and dropped the debut EP A Not So Tragic Cover-Up (2004), followed by the full-length I Call This Abandonment (2005).

After heavy touring and lineup shifts (Chris Cargile on guitar, Chris Crutchfield on bass), they returned with Fiends (2007), evolving from screamo grit to more melodic, Buckley-tinged hooks without losing the punch.

After years of life, families, and day jobs, we’re back in the room—writing late, chasing the spark, and releasing new music again. The UL² era marks our next chapter, with fresh singles and visuals rolling out as we build toward more recordings and future shows.

Same heart. Sharper teeth.

Brace Yourself is a Tucson, Arizona-based band built on intensity, atmosphere, and a sound that refuses to stand still. Drawing from a wide range of influences, the band blends aggression and the weight of metalcore with polished, modern-era production, creating a sound that feels both familiar and entirely their own. The band recently released their second EP Titled Roots In Empty Places, making a new chapter for Brace Yourself and further defining their evolved sound. With its blend of crushing heaviness, dynamic atmosphere, and modern production, the EP showcases a band continuing to push its boundaries while staying true to its roots.

The band members are:

Vocalist: Jamison Scott

Guitarist: Aidan Roberson

Guitarist: Keagan Smith

Bassist: AJ Farrell

Drums: Jace Hampton

British lads LACEY have quietly carved out a reputation as one of the UK’s hardest-working independent bands, writing enormous, heartfelt alt-rock songs and taking them onto stages across the UK, Europe and beyond. Along the way they’ve supported the likes of The Used, All Time Low, The Maine, Enter Shikari, Motion City Soundtrack, Bowling For Soup, Boys Like Girls and Simple Plan, while frontman Graham Turner has a knack for making a room full of strangers feel like old friends by the end of a show. For all the hard graft that’s got them here, LACEY are still just three mates writing songs they mean and playing every show like it matters. Somewhere along the way, that’s made them cult favourites within the E.N.D. family. If you know, tell your friends. If you don’t, maybe it’s time you found out.

Forged in the fires of Portland, Oregon twenty years ago, this unstoppable force of musical mayhem has perfected the art of blending screamo, punk, and metalcore into a cataclysmic symphony. With riffs that could topple buildings, drums that echo like thunder, and gut-wrenching vocals that will "take your pain away", they're here to give your eardrums a rollercoaster ride they won't forget.

With a lineup consisting of three brothers, a cousin, and a brother from another mother, prepare for genetically perfected melodies that have aged like fine wine. Brace yourself for a mind-bending sonic assault that will make your blood surge and your soul tremble. Grab your earplugs, fasten your seatbelts, and embark on a wild journey through the tumultuous realms of your emotional past, guided by Reclaim the Fallen's relentless sound, two decades in the making.

As one of the first bands that got Matt Cutshall himself into the emo music scene, we have been graciously welcomed aboard for a reunion show and one last call to the stage.

Matt Cutshall has amassed a loyal following of millions of fans who recognize him for his comedy videos and original music. His Emo’s Not Dead project has taken on a massive role in supporting the emo and pop punk music scene by featuring classic emo tracks in his viral video series called felt emo might delete. Recognized by his fans as a hero who is “bringing emo back", Matt has been supported by celebrities such as Tony Hawk and the Twilight cast who have also been featured in his series. In 2022, Cutshall successfully launched the Emo’s Not Dead Cruise in partnership with Norwegian Cruise Line, which features the most iconic bands in the genre such as Dashboard Confessional, New Found Glory, Underoath, Yellowcard and more. Matt also releases original music under the artist name Your Broken Hero which has charted #10 on Youtube Music the first week of release. He is currently in the studio completing the debut album which is set to release this Summer.

Chad and JT - the bros you've seen with their viral antics at city councils and movie quotes in public - are back to bring you a groundbreaking new live show.

Additionally, Chad will be bringing his new one man show, CHILL TOWARDS ENLIGHTENMENT, to the stage. A satirical ted talk seminar on his stoke philosophy where he tackles the question: “Why is bummer so prevalent in our society and how do we transcend it?” Join us on this beautiful journey and learn Chad’s transformative technique, The Chill Method, which will help you reclaim your inner joy and set you on a new path to enjoy this radical adventure we call life.

Dedrick Flynn, aka “The Dark Storm”, Stand-Up Comedian and newest full-time regular on Kill Tony!

Mat Edgar is a California native who started stand-up comedy at the world-famous Comedy Store in 2007, where he was bestowed the moniker “The Edge.” In just four years, The Edge climbed the ranks to paid regular, where he spent the next decade buried in the late-night portion of the shows. There he honed his style of what would later be described by his colleagues as “stupid funny.” In that time, Mat would tour the country opening for rock bands where his Comedy Store late-night training would flourish. In 2016, Edgar created the award-winning audio drama “Kevin’s Cryptids” with four of his best friends from high school. At the same time, he teamed up with Tony Hinchcliffe, Chris Burns, and Johnny Skourtis to create The Comedy Store’s premiere pro wrestling podcast “The Store Horsemen.” 2016 was also the same year he made his Comedy Central debut on Ari Shaffir’s storyteller show “This Is Not Happening.” 2020 brought Mat Edgar’s debut album “Take The L.” In 2023, he started his own live comedy show, “Emo Comedy Night,” where he roasts emo music in between comedians performing. You can currently catch him at The Comedy Mothership in Austin, Texas, where he performs nightly.

Myles Anderson has performed at Just For Laughs and was a finalist in the Seattle International Comedy Competition. He always manages to deliver strong jokes despite his delicate features. His most recent special, Myles Per Hour, can be seen on 800 Pound Gorilla’s YouTube channel and heard on Sirius XM. But Myles is probably best known for his YouTube alter ego, The Professional Joke Explainer.

The Emo Band · Emo & Pop Punk Live Band Karaoke Party

Picture this: YOU on stage looking out at a sea of supportive Emo kids singing along to your every word while you rock out with a full backing band to your favorite Emo & Pop Punk songs! You'll have the time of your life!

The Emo Band · Live Band Karaoke:
Vocals = YOU!
Guitar, Vocals · Matthew Fuchs
Drums, Vocals · Cory Muro
Bass, Vocals · Nate Hall
Guitar · Jordan Tomb

Check out our live band karaoke song list!