CHIODOS

Originally known as the Chiodos Bros., the sextet better known as simply Chiodos (pronounced “chee-OH-dose”) — named after an obscure ’80s horror movie term — came together during high school in their hometown of Davison, MI, located just outside of Flint. Citing influences like Saves the Day, At the Drive-In, and Queen, the band’s sound was a melting pot of punk energy, metal riffing, melodic instincts, piano tinkering, and occasional electronic beats that prevented an easy genre classification. Comprised of vocalist Craig Owens, keyboardist/vocalist Bradley Bell, guitarists Pat McManaman and Jason Hale, bassist Matt Goddard, and drummer Derrick Frost, the band recorded a demo, The Best Way to Ruin Your Life, in June 2002. The release, along with the band’s energetic and powerful live show, helped bolster a notable local following.

They next self-recorded and produced the seven-song The Heartless Control Everything in McManaman’s bedroom, which was subsequently issued by Ann Arbor-based indie Search and Rescue in January 2003. Following the release, the guys hit the road hard, trekking across the nation seven times over, including shows with Yellowcard and Coheed & Cambria. All this activity and buzz eventually led to a 2004 signing with Equal Vision, which then released All’s Well That Ends Well in July 2005. Chiodos stayed on the road and spent early 2006 playing Sub City’s Take Action Tour and a successful spot at Bamboozle. A full summer’s worth of shows got underway that May, including a handful of Warped Tour dates, before spending fall opening for heavy-hitters Atreyu. (Owens was also involved for a time in the rotating cast of musicians that made up the Sound of Animals Fighting.)

Returning to the studio, this time with producer Casey Bates, the band titled their second full album Bone Palace Ballet after a book of poems by Charles Bukowski and released it in September 2007. It reached number five on the album charts, but Owens and Frost left the band shortly after. Third album Illuminaudio from 2010 featured vocals from Brandon Bolmer of Yesterdays Rising, and drumwork from Tanner Wayne of Underminded. Both were in the lineup only briefly, however, and by early 2012, Owens and Frost were back in the band.

At the end of 2012, guitarist Hale announced he was leaving; his replacement was Thomas Erak, previously guitarist and vocalist for the Fall of Troy. Chiodos toured often during 2013, including signal spots on Great Britain’s Kerrang! Tour and the Warped Tour across America. The band’s fourth album Devil appeared in the spring of 2014, their first for Razor & Tie. It gained positive reviews, and debuted inside the Top 15 of the album charts. ~ Corey Apar, Rovi.

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.

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.

Experience our general admission open floor plan! On the first floor, there is an open floor standing area in front of the stage and general admission seating available in the back in sections C, D, and E. The balcony is still all reserved seating.