After nearly a decade, the legendary CHIODOS has stormed back onto the scene!

CHIODOS’ return performance at the 2024 WHEN WE WERE YOUNG festival in Las Vegas was nothing short of legendary. CHIODOS made history with an unforgettable, high-octane set that left fans in awe and buzzing for days. One of the most anticipated acts of the weekend, CHIODOS lit up the stage with a showcase of iconic tracks from their groundbreaking albums All’s Well That Ends Well and Bone Palace Ballet.

This was a triumphant celebration of the 20th anniversary of All’s Well That Ends Well, the album that started it all! During the jaw-dropping set, frontman Craig Owens took the energy to another level, announcing a headline anniversary tour. Kicking off soon, CHIODOS will hit the road with none other than HAWTHORNE HEIGHTS, EMMURE, and THE CALLOUS DAOBOYS for an epic, nationwide celebration.

Fans can expect an all-out musical blowout, reliving the unforgettable hits – and maybe catching a few surprises along the way. Buckle up, CHIODOS is BACK and ready to ignite the stage!

Hawthorne Heights are back this year with the release of their eighth studio album ‘The Rain Just Follows Me’ that dropped in September via Pure Noise Records. The 11 tracks on this record stand as some of JT Woodruff’s most resonant writings to date, as he unravels themes of both physical and emotional distance from his wife and daughter in Ohio, as well as personal identity as the frontman of one of the most iconic emo acts of the new millennium.

Throughout their long and storied career, Hawthorne Heights have overcome obstacles at every turn – but these roadblocks always seemed to come from external forces, from unscrupulous record labels and the shifting whims of fickle audiences to unimaginable personal tragedy threatening to derail them.

Despite the odds, the quartet composed of JT Woodruff (Vocals, Guitar), Mark McMillon (Guitar, Backing Vocals), Matt Ridenour (Bass, Backing Vocals), and Chris Popadak (Drums), have overcome it all: earning two Gold albums (2004’s The Silence In Black And White and 2006’s If Only You Were Lonely), penning some of the genre’s most well-known songs (“Ohio Is For Lovers,” “Saying Sorry”), and remaining a hard-touring act nearly two decades after forming in Dayton, Ohio.

For a generation of malcontents and outsiders desperate for that extra bit of adrenaline, just to make it through another day, the unrivaled ability of Frankie Palmeri to flip his middle fingers at the world (and himself), with equal bravado and passion, has made EMMURE essential listening.  

Heralded as pissed, politically incorrect, and “the most polarizing metal band since Limp Bizkit” in a Revolver Magazine cover story which sought to contextualize internet shit-posts and the band’s “brutish brand of hip-hop-inflected deathcore,” EMMURE lets the music do the talking, first and foremost. Frankie Palmeri doesn’t mince word onstage or off and EMMURE albums are allergic to complicated metaphors and overflowing with unrelenting, unforgiving, unstoppable beatdowns.

“HINDSIGHT” continues the creative partnership between the band’s singer (and sole remaining original member) and whirlwind guitarist Joshua Travis, who injected fresh energy into 2017’s Look at Yourself. It reunites the band with producer WZRD BLD, aka Drew Fulk (Dance Gavin Dance, Motionless In White, Bad Wolves). But where its predecessor viciously fought through suicidal ideation, feelings of hopelessness, and failure, “HINDSIGHT” is somehow more savage and refined.

Bloodthirsty bangers like “Pigs Ear” and “Gypsy Disco” roar with calculated ferocity, as Palmeri examines past decisions, victories, setbacks, and mistakes, with his well-documented knack for fearless autobiographical catharsis. He’s been open about his struggles with substance abuse, ex-band members, and the press. (A few would-be journalists describe him as “combative.”) But it’s exactly that raw authenticity and unrelenting forward motion that makes EMMURE so powerful. 

A YouTube video from the Punk Rock MBA channel called “MOST HATED METALCORE BANDS: Emmure, Bring Me The Horizon, Attila” was viewed over 450,000 times in just over six months. 

“Gypsy Disco” samples firebrand punk GG Allin, which makes a twisted kind of sense. Palmeri has openly expressed his admiration for the late provocateur, whose exploits were documented in the 1993 documentary, Hated: GG Allin and the Murder Junkies. He’s similarly fond of another controversial and since departed agitator, who fronted the band Anal Cunt. “I would like to have a beer with Seth Putnam or GG Allin,” Frankie told Loudwire. “Those guys were on the level.”

Songs like “Solar Flare Homicide”, “Flag of the Beast”, “Natural Born Killer”, “A Gift A Curse”, “Nemesis”, and “MDMA” became scene anthems thanks to Palmeri’s charisma, a dose of death metal brutality, grooves that inspire both head-nodding and headbanging, and brash aggression.

Since 2003, the Queens, New York born rabble-rouser built EMMURE from a teenaged idea into a nearly two-decade strong extreme music institution, surviving trends, shake-ups, and critics. EMMURE doesn’t play at being “dark” or “angry” for its own sake; Palmeri has always been the same guy both onstage and off. He won’t write the same things he’s already talked about, or phrase things in quite the same way. There are no apologies and no regrets, as each EMMURE album was an honest document of how he felt. And he’s just as outspoken about his growth. 

EMMURE’s confrontational spirit and irresistible hooks won them fans on Rockstar Mayhem, Warped Tour, Knotfest, countless festivals, and on tour with a diverse range of bands that includes Five Finger Death Punch, Killswitch Engage, As I Lay Dying, and co-headliners Whitechapel. Across eight albums - like the genre classics “Speaker of the Dead” (2011), and “Eternal Enemies” (2014) – EMMURE battled their way into the extreme music scene like uninvited but necessary guests. 

The band’s moniker references “immurement,” a particularly brutal form of execution where a person was trapped behind walls and simply left to die. EMMURE has defied all death sentences, however, from without and within. And while they’ve never been one to court awards or accolades, the fact that heavy metal tastemaker Loudwire put them alongside iconoclastic troublemakers GG Allin and Marilyn Manson in a list of 10 Bands That Didn’t Care If You Hated Them, just before the release of Hindsight, was exactly the kind of press to earn Frankie’s retweet.

“The band’s latest single, ‘Gypsy Disco,’ dropped earlier this year, and listening to it,” they wrote, “it’s safe to say EMMURE still couldn’t give a shit what you think about them.” 

Tenacious, raw, and uncompromising in a sea of fakery, EMMURE proudly stands apart. 

The Callous Daoboys are proud to be batshit. If you know of the Atlanta band, you probably know how fun they are; you probably already love them. But however hyperactive, silly and bizarre they may have gotten so far, it’s not enough. With new EP God Smiles Upon The Callous Daoboys, they push it even further.

The Daoboys are Carson Pace (Vocals), Madeline Caffrey (Guitars), Daniel Hodsdon (Guitars), Jackie Buckalew (Bass), Amber Christman (Violins/Synths), and Matthew “Marty” Hague (Drums). They formed in 2016, initially a joke metal side-project to the more serious emo band that Pace and Caffrey played in. But it turned out that people loved them. Of course they did — maybe the Daoboys were goofing off, but their pure love for the genre was evident from the start. So they knuckled down; they kicked out the members who weren’t in it for the long run and they started writing the best stuff they could.