Hot Water Music haven’t released any of the songs with guests yet, but they did release two singles from the album, “Menace” and “Burn Forever.” The former is sung by Chuck Ragan, who says, “In this day and age, it’s easy to get caught up in day-to-day frustrations. What isn’t easy all the time is recognizing our ability to choose our mental state. We own the power to slow down enough to be present in our anger, realizing the paths away from hatred and preparing ourselves for the next time we cross ways with menace.” Chris Wollard sings “Burn Forever,” and he says it’s a song “about processing grief. Allowing it to happen, and also about the things we learn to help us through it.”

Read more: 15 best modern hardcore bands for day one fans

About the album overall, the band add, “The theme that kept coming up while working on this record was growth — how writing a song, recording an album, or being in a band is like planting a seed and helping it grow. We think a lot of that had to do with looking back and realizing that over 30 years, we’ve managed to make something special that we all really love. […] We hope this album feels like a celebration of our history and future to everyone that hears it. That is definitely what it is and how it feels to us.”

Vows was produced by longtime collaborator Brian McTernan, who helmed the band’s classic early 2000s albums Caution and The New What Next, and “Menace” and “Burn Forever” are cut from the same cloth that made those albums so special. Listen below.

Vows tracklist
1. “Menace”
2. “Searching For Light”
3. “Burn Forever”
4. “After The Impossible” (feat. Dallas Green)
5. “Remnants” (feat. Daniel Fang and Brendan Yates)
6. “Chewing On Broken Glass”
7. “Fences” (feat. Thrice)
8. “Side Of The Road”
9. “Wildfire” (feat. Popeye Vogelsang)
10. “Bury Us All”
11. “Touch The Sun”
12. “Much Love” (feat. The Interrupters)

Hot Water Music 2024 tour dates
MAY
03 — Cincinnati, OH — Bogart’s *
04 — Columbus, OH — Newport Music Hall *
05 — Detroit, MI — St. Andrews Hall *
07 — Toronto, ON — Danforth Music Hall *
08 — Buffalo, NY — Town Ballroom *
09 — Philadelphia, PA — Underground Arts *
10 — Boston, MA — Royale *
11 — Brooklyn, NY – Brooklyn Paramount #
12 — Mechanicsburg, PA – Lovedraft’s Brewing Co. *
13 — Washington, DC — The Howard *
14 — Richmond, VA — The National *
15 — Atlanta, GA — The Masquerade (Heaven) *
17 — Dallas, TX — South Side Music Hall *
18 — San Antonio, TX — Paper Tiger *
19 – Austin, TX – Mohawk *

JUNE
13 — Louisville, KY – Mercury Ballroom ^
14 — Cleveland, OH — House of Blues ^
15 — Chicago, IL — Concord Music Hall ^
16 — St. Louis, MO — Delmar Hall ^
17 — Lawrence, KS — Liberty Hall ^
18 — Denver, CO — Ogden Theatre ^
20 — Mesa, AZ — Nile Theater ^
21 — San Diego, CA — House of Blues ^
22 — Santa Ana, CA — Observatory ^
23 — Los Angeles, CA – The Belasco ^
24 — San Francisco, CA — Great American Music Hall ^
25 — Sacramento, CA — Ace of Spades ^
27 — Portland, OR — Revolution Hall ^
28 — Seattle, WA — The Showbox ^
29 — Vancouver, BC — Commodore Ballroom ^

* — with Quicksand, Off With Their Heads
# — with Quicksand, Modern Life Is War, The Ergs
^ — with Quicksand, Tim Barry

Read more: Fan poll: 5 best punk vocalists of all time

With 2024’s lineup featuring My Chemical Romance, Fall Out Boy, and dozens of iconic album play sets, all we have to say is: Until next year, Las Vegas.

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Sum 41

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5 Seconds of Summer

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Less Than Jake

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Thrice

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Relient K

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Beach Bunny

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And collide they did, and then some: from hip-hop legends to pop-punk royalty, audiences were constantly surprised as they stood in the crowd at each of the four stages throughout the weekend, watching Lil Wayne singing “Lifestyles of the Rich and Famous” with Good Charlotte, seeing Avril Lavigne crash the All Time Low set, and Steve Aoki collab with Yellowcard. Green Day kicked the entire weekend off with a Dookie album play, and in lockstep with blink-182, each announced a 2024 stadium tour and performed new music that had yet to be played live at the festival. Alongside the greats, exciting younger acts hit the desert too this year, artists who we’ve seen so astutely interpret this corner of alt music we’ve always loved in modern and insightful ways — from Jean Dawson to the Wrecks, EKKSTACY to KennyHoopla.

Though it’s easy to get emotional, no pun intended, that the weekend’s a wrap, we can at least revel in the gifts it gave us, and look forward to the year ahead, full of anniversary album plays, our favorite bands hitting the road, and new music — breadcrumbs that will satisfy that nostalgic itch we all have, at least until next October. 

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The Front Bottoms crowd

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When We Were Young crowd

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[Photo by Christian Sarkine]

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Good Charlotte and Lil Wayne

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Set It Off

At this point, Hail the Sun are post-hardcore veterans. The Chico, California outfit have been around since 2009, progressing with each record. On their sixth and latest studio album, Divine Inner Tension, the band follow their signature sound while introducing some new ideas, with vocalist Donovan Melero noting that it’s their first project “that didn’t come exclusively from a place of suffering or pain.”

Read more: 5 most underrated post-hardcore albums of the 2000s

It’s also clear the band also have a lot of respect for post-hardcore’s past. Naturally, we asked guitarist Aric Garcia to name his favorite 2000s post-hardcore songs, and his picks are nothing short of gold. His love for the genre shines, and he has massive admiration for the musicians who helped pave the way, especially Anthony Green, as he names several of his projects.

From At the Drive-In’s “Arcarsenal” to Glassjaw’s “Mu Empire,” see his selections below.

Thrice – “Deadbolt”

This song made a huge impression on me when I first heard it. The opening guitar riff is iconic, and the way that it sneaks into other sections of the song is fantastic. I always loved how the song builds into that brilliant key change at the end. It’s like you’re driving through this crazy rainstorm, and then suddenly the clouds part, and the glorious sunlight hugs you and lets you know everything’s going to be OK.

At the Drive-In – “Arcarsenal”

To me, this song represents the pinnacle of At the Drive-In’s later sound prehiatus. If you asked me to choose a top ATDI song, I’d probably pick something off In/Casino/Out or earlier, but that’s neither here nor there. This song has all of the elements that make this band great — of which there are many — some of those being the spastic tapestry of heavily affected guitar work, driving rhythm section, soaring vocals, and even some piano to boot.

Thursday – “Understanding In a Car Crash”

Geoff Rickly is such a beautiful lyricist with such a distinct voice. It’s hard not to be a Thursday fan, in my opinion. On top of that, the band has always had a knack for writing near-perfect songs. “Understanding In a Car Crash” certainly stands out in the sea of 2000s post-hardcore songs, and I think its popularity within the band’s catalog is a testament to how well they can tell a story over a beautiful musical canvas.

Glassjaw – “Mu Empire”

When I mentioned the “Arcarsenal” being the pinnacle of At the Drive-In’s sound, I feel the same way about “Mu Empire” for Glassjaw. Yet another band that had a huge influence on my own musicianship. I think Glassjaw’s catalog is full of contenders for this list, but this one has always held a special place in my heart. The way that they combine dissonance, melody, and pure filth is what makes this band so special for me, and “Mu Empire” definitely has all of those factors and then some.

Saosin – “Seven Years”

My friend group and I practically wore out Saosin’s Translating the Name EP when it came out in 2003. I distinctly remember playing Halo multiplayer with friends and only listening to that EP and completely memorizing it front to back in short order. Anyway, “Seven Years” is undoubtedly a post-hardcore staple and needs to be included on any and all lists of this sort from now until the end of time.

The Fall of Troy – “F.C.P.R.E.M.I.X.”

Yet another undeniably good 2000s post-hardcore song for this list. While I also dearly love the original from their self-titled album, the remixed version was absolutely gigantic for the band and did a ton for their career in terms of growth. I mean, the song was featured as a bonus track on Guitar Hero III. For any post-hardcore band, especially a self-proclaimed weirdo band like this one, to achieve that is just incredible. I have nothing but respect for these guys and what they’ve accomplished playing the music that they play and that I love.

The Sound Of Animals Fighting – “Act I: Chasing Suns”

Mathy, trippy, technical, groovy, melodic, chaotic — the Sound Of Animals Fighting can do anything musically that their crazy minds can dream up. This song in particular is a roller coaster of groove-induced shred, filled with left turns and key changes that make it impossible not to listen in awe as you bob your head as you try to keep up. “Act I: Chasing Suns” certainly raised the bar impossibly high for future progressive post-hardcore bands, and I wouldn’t have it any other way.

Silverstein – “Smile In Your Sleep”

This band has some of the most consistently good songwriting of any post-hardcore band out there. In my opinion, “Smile In Your Sleep” stands the test of time and is as good of a song now as it was almost 20 years ago. Shane Told is so skilled at marrying memorable lyrics with catchy melodies that he makes it seem effortless, and it’s no wonder why Silverstein fans old and new are still singing this one right back at him when the band performs it live.

Senses Fail – “Buried a Lie”

This is my go-to dig up a body to solve a murder that reeks of foul play song. It’s also one of my favorite songs in Senses Fail’s entire catalog. This one stands out for me because of its catchiness combined with the very…interesting subject matter showcased in it. Also, the music video provides the perfect juxtaposition of humor with the song, and it’s just the perfect mix.

Circa Survive – “The Great Golden Baby”

Honestly, there could be any number of Circa Survive songs included in this list. The impact they’ve had on the scene will leave a ripple effect for future generations to come. Speaking of impact, this is the third Anthony Green band featured on this list and is an indication of how influential he’s been over the years, but I digress. “The Great Golden Baby” showcases the band’s chiller side but features their distinctive guitar sound where they play entirely different parts that combine to create a magnificently beautiful soundscape. That, coupled with Anthony’s undeniable vocal performance and the driving rhythm section, make this song a must for this list.

Read more: 20 greatest Fueled By Ramen bands

In celebration of the philanthropic label’s 30th birthday this year, we’ve drawn together the 20 greatest Hopeless signings, both past and present. 

Avenged Sevenfold

Try to imagine Avenged Sevenfold without their debut Sounding the Seventh Trumpet or their seminal sophomore album, Waking the Fallen. Having trouble? That speaks for the impact of A7X’s Hopeless output all the way back in 2001, a much simpler time for the metalcore scene and owners of infinitely baggy jeans. Listeners were introduced to the talents of Synyster Gates and Johnny Christ to the tune of “Unholy Confessions” and “I Won’t See You Tonight,” bracing fans for their now-traditional screaming guitar solos to frame their lyrical bangers. Avenged Sevenfold’s stint under the Hopeless umbrella may have been criminally brief but ultimately gave the promising Cali outfit a chance to make a giant leap into their bright future.

NOAHFINNCE

No offense, but if you’ve not yet discovered the musical wisdom of influencer-turned-pop-punk-upstart NOAHFINNCE, you need to get out more. Multitalented, energetic and mob-handed with a sharp tongue and an ear for a catchy hook, the British rising talent signed to Hopeless Records in 2020 and has since released two EPs charged with quickfire jibes on modern life, love and everything in between. The future of pop punk is safe in the hands of NOAHFINNCE and Hopeless’ eye for the genre’s next landmark artists.

Zeph

Bedroom alt-pop fueled by young adult angst has never sounded quite as bittersweet as it does in the hands of one-woman powerhouse Zephani Jong, or Zeph for short. One of Hopeless’ freshest signings, the Korean-American sensation well known for her hard-hitting lyrics that give listeners pause for thought at every turn joined the label in March and promises a moving new era judging by her latest single “like everyone else.” Listeners can expect a wild ride of emotions that may be uncomfortable to hear but nevertheless deserve a platform, soundtracked by the dulcet tones of Zeph’s vocal range.

Waterparks

In 2019, pop-punk sensations Waterparks sought the perfect outlet for a change of tact, bringing painfully self-aware lyricism to the table amid saccharine, electro-pop-infused singalongs. A simultaneous bold shift from their signature pop-punk jams but also a perfect transition toward their musical maturity as an outfit, Hopeless Records gave their 2019 album, FANDOM, a soapbox to freely express itself. The success of the venture proved that their sound progression was not only predicted but welcomed by listeners who also needed self-critical anthems to belt out in the car on a hot summer’s day. Even though their partnership was short-lived, as they only stuck with Hopeless for one record, Waterparks made their ultimate mission statement loud and clear.

New Found Glory

New Found Glory’s shift to Hopeless in 2014 in time for their eighth studio album, Resurrection, gifted the outfit with a chance to start again. A member reshuffle placed Chad Gilbert on rhythm guitars as well as lead, allowing for a more consistent tone on songs like “Selfless” and “Ready & Willing,” establishing a new status quo that would survive until NFG’s final Hopeless album, December’s Here. The Hopeless era gave the genre mainstays a golden opportunity to prove themselves all over again, and it paid off spectacularly.

Scene Queen

The TikTok generation needed a rebellious icon to call out the scene around them with an acid tongue, but it could never fully prepare itself enough for the storming presence of Scene Queen, the brutally honest outlet for songwriter Hannah Collins. Creating her own genre of self-branded “bimbocore” to explain the juxtaposition between her ultra-feminine aesthetics and relentless metalcore instrumentals, Scene Queen delights in challenging the scene’s deep-rooted issues through contagious heavy singalongs that you’ll hear on your For You Page all day long.

Neck Deep

Some partnerships are meant to be, particularly if they come together to create four phenomenal pop-punk records within a decade and consequently fire a Welsh band from the obscurity of the nonexistent Wrexham punk scene right up into the stratosphere. Neck Deep have enjoyed a fairytale journey through the ranks as payback for their hard work in crafting endlessly contagious summer anthems, standing to this day as a testament to Hopeless Records’ talent-picking flair.

Thrice

The tricky relationship between artist and sophomore record held true for Thrice, having received numerous rejections to release 2002’s The Illusion of Safety due to its unpredictable sound, varying from frenetic melodic hardcore to self-reflective post-hardcore. Luckily for the band, Hopeless imprint Sub City Records took a chance and consequently enabled the now-legendary emo trendsetters to unleash songs like “Deadbolt” upon an unsuspecting world grabbing its skinny jeans and studded belts in preparation for a breakthrough.

Pinkshift

Visceral punk instrumentals and gloriously slick, grunge-esque vocals meet in No Man’s Land at the hands of Pinkshift, Baltimore’s answer to No Doubt with a refreshing 2023 tinge. Scooped up by Hopeless just in time to drop their debut full-length, Love Me Forever, this trio of friends are looking to shake up the scene with teeth-baring, confrontational jams that sound as much fun to create as they are to hear. Pinkshift have their brightest days ahead of them with the continued support of a label synonymous with punk discoveries that push the boundaries of a genre designed for reinvention.

The Used

With their fifth record, Vulnerable, in 2012, emo mainstays the Used began fusing experimental electronic elements into their signature venomous and gloriously heavy anthems as if they always belonged there. Leaving the safety of Reprise Records for a new start with Hopeless, the transition into their newfound approach appeared pretty seamless. For the next three earworm-inducing eras, the band called Hopeless Records their home and produced some of the most emotionally stirring, evocative albums of their long career, from the confrontational Vulnerable and the politically enraged Imaginary Enemy to the grieving The Canyon.

illuminati hotties

illuminati hotties is newer to the Hopeless Records roster. The first release through the label was second studio album, Let Me Do One More, in 2021 which allowed the LA indie set to announce themselves to the mainstream. What started as an outlet for former production-engineer-turned-vocalist Sarah Tudzin’s talents soon became a completely unpredictable combination of punk, indie and whatever Tudzin feels like on any given day. illuminati hotties are a true aural experience that defies a large label name to encapsulate their success, and are still with Hopeless Records now.

DE’WAYNE

In a badass world, alternative music needs an equally badass representative for 2023. Case in point: DE’WAYNE. His slick combination of organized hip-hop chaos and reckless punk abandon has crafted relentlessly contagious singalongs that have earned the Hopeless seal of approval and consequently garnered the hype he fully deserves. Living his best life under the Hopeless umbrella since his debut album, STAINS, DE’WAYNE’s genre-fluid approach brings back echoes of nü metal’s glory days when the two genres coexisted harmoniously across the mainstream market. There is hope that the scene can rejuvenate its relationship with the polar opposite genre, and that hope falls into the hands of one Texas-born future icon.

Stand Atlantic

When you find a label that understands your goals, your journey toward them and how you plan on getting there, hold onto them. Stand Atlantic have settled neatly into the Hopeless family as if they always belonged there, signing for their debut full-length, Skinny Dipping, in 2018 and staying out well into their third album, F.E.A.R., last year. Distributing their own flavor of pop punk with blends of electronic twinkles, their tracks are worthy of endless replays, led by the versatile tones of vocalist Bonnie Fraser. The only way is up for the Sydney crew. 

Sum 41

Sum 41’s back catalog may well be the definition of All Killer No Filler, but the latest piece in the Ontario band’s jigsaw was a signing to Hopeless just in time for their 2016 album, 13 Voices. Introducing what was once a daunting step into the unknown for the noughties trendsetters, the crowd-funded effort 13 Voices also paved the way for a subtle fragility in Deryck Whibley’s lyricism to reflect his own health revelations while taking a bold step away from their pop-punk roots toward a heavier metal sound. Ever since, Sum 41 have consistently followed their musical instincts to the bitter end.

Taking Back Sunday

Taking Back Sunday’s innate reliability to produce an album chock-full of belters, earworms and tracks that arrogantly refuse to age has carried them long into their 25-year career. It comes as no surprise that their debut appearance in the Hopeless family was no different, bringing 2011’s Happiness Is as an opportunity to remind the world around them just why TBS are the alternative household name you can trust. Their second Hopeless outing, 2016’s Tidal Wave, would be founding guitarist Eddie Reyes’ last with the Long Island outfit and subsequently made a fitting end of an era.

PVRIS

PVRIS have shifted to the Cali label in time for their fourth album, EVERGREEN, to be released this July. Dominating the alternative scene since their 2014 debut album, White Noise, demonstrated their heavy chops, their sound has comfortably evolved into a theatrical form of electro-pop rock that fully showcases the complexity and versatility of frontwoman Lynn Gunn as a performer, songwriter and vocalist. The latest singles from EVERGREEN, “ANIMAL” and “GODDESS,” suggest that listeners are in for a wild ride with PVRIS this year. 

The Wonder Years

If you thought your favorite pop-punk bands would eventually outgrow their adolescent anxieties and youthful despairs, the Wonder Years have matured and grown into their own sound while still retaining the fist-clenching angst from their debut. Over a decade under the Hopeless umbrella since their third studio album has enabled the Wonder Years to truly explore their own identities both as a group and as individual artists. Signing with the label for 2011’s Suburbia I’ve Given You All And Now I’m Nothing and remaining with Hopeless ever since, the band have found the perfect outlet for their emotional grievances across five gut-wrenching albums.

Tonight Alive

Despite the musical future of Tonight Alive remaining largely uncertain, their signing to Hopeless for their latest album, Underworld, in 2018 supplied the world with their newfound artistic approach to their traditional alternative-rock sound. Never taking the most obvious path through the industry, the Sydney outfit branched into an empowering new era with the help of Hopeless. Although Underworld would prove to close a chapter of their history with the departure of founding lead guitarist Whak Taahi, and it may seem like this fourth album may be their last, the Australian rockers produced a fittingly beautiful end to a band that brought familial togetherness to every stage they have graced.

Silverstein

Victory Records’ loss is inevitably Hopeless’ gain, and the same goes for Silverstein back in 2011 on the cusp of releasing their fifth post-hardcore triumph, Rescue. It’s impossible to imagine this emo-forging outfit without songs like “Massachusetts” and “Burning Hearts.” Not to mention, the unexpected hit of the entire Short Songs album changed the way we consume the genre’s output altogether. For their dedication to their stylistic endeavors, Silverstein will always deserve to be up there with the emo trinity, as they’re masters of creating devastatingly catchy scream-alongs and heartbreak anthems that hit your feelings like no other.

We Are The In Crowd 

Without the resounding success of their partnership with Hopeless Records, it’s hard to imagine if We Are The In Crowd would ever have emerged from their local Poughkeepsie, New York scene, let alone become a huge name in their brief time together. What began as a MySpace post declaring that a former band member had hacked and deleted their page’s contacts and content later forged a bond with the minds behind Hopeless and would lead to releasing both of the outfit’s albums under the label. Although their last release dropped back in 2014 and their 2016 hiatus broke in 2019, the chance of new WATIC music is low but never zero.

On Sept. 23-25, though, it was the scene of another type of metal blasting: Furnace Fest, a three-day gathering of hardcore, punk and metal bands and their fans, held in a creepy, decommissioned steel mill ringed by towering blast furnaces and connected by a network of allegedly haunted underground tunnels. 

Headliners Mastodon, Sunny Day Real Estate and Thrice anchored a lineup of 99 bands — 33 each day across three stages — culled from the past, present and future of heavy music. But the event’s pairing of secular and Christian hardcore bands has been its calling card since the fest’s initial 2000-2003 run. Festival founder Chad Johnson says they simply “embraced the awkward and opposing tension” that was normal to them growing up as DIY punks living in the buckle of the Bible Belt. 

Read more: 20 bands that shaped hardcore’s evolution, from Bad Brains to Soul Glo

“The community at Furnace Fest has always been incredibly supportive of one another,” Johnson says. “Part of what makes the festival so unique is that it was birthed in the duality of opposites — the Christian, very committed, very serious followers of Jesus, coupled with God-free, straight-edge atheists.” 

The concept grew out of the regional scene and Johnson’s own Takehold Records, which put out records by Underoath and Further Seems Forever. Bands that would dominate Warped Tour in the years that followed were Furnace Fest regulars, playing to thousands of fans with little security, no barricades and few rules. Perhaps inspired by the site’s history, Underoath brought out a fire breather; some attendees burned Bibles during a set from Most Precious Blood; Dillinger Escape Plan turned their own instruments into pyrotechnics — a performance guitarist Ben Weinman dubbed one of the band’s 10 craziest shows.

Johnson and co-conspirator Johnny Grimes brought back the event last year after an 18-year absence and sold out 10,000 tickets, creating a huge demand — and expectations — for an encore in 2022. Following in the fest’s tradition of convincing bands to reunite (including Hum’s set in 2003), this year they hosted Sunny Day Real Estate’s first major performance in 12 years, Avail’s second show in 15 years, and Blindside’s first show in 20 years.

AP recently reached Johnson by phone in Birmingham to get the scoop on Furnace Fest 2022 and the event’s wild history.

Furnace Fest was unique in combining secular and Christian hardcore bands on the same bill. Had you seen that done before? 

I don’t think it was very common back in those days, at least not in the Bible Belt, [but] it just made sense. Our friends were running a venue that was not a Christian venue at all, and ours wasn’t necessarily exclusively Christian, but it primarily featured Christian artists. So, we ended up partnering, and that’s really where I think the idea for Furnace Fest came about. On a Tuesday night, it was Living Sacrifice, Stretch Arm Strong and Blindside, and then on a Wednesday night, it was Hot Water Music, Avail and Ann Beretta. It just became extremely normal for those two worlds to coexist.

The Dillinger Escape Plan’s 2002 set is legendary. What do you remember most about it?

Dillinger was a 10 out of 10 in terms of potential for bodily harm, but somehow everybody survived. What made their set so crazy is they lit a [guitar cabinet] on fire during “43% Burnt.” It was weird to see something on a wooden stage on fire; kind of like, “Huh, I don’t know how the Fire Marshal would feel about this, but I’m pretty sure they wouldn’t be OK with it.” But as the promoter, I assume the band knows what they’re doing, and I was very relieved when they brought out a fire extinguisher and put it out.

The closest thing I think we had last year [2021] at Furnace Fest was Knocked Loose. That was pretty outta hand. As a promoter, there are times in live music, and especially live heavy music, where you fear for the audience. And as somebody who actually likes other people, I want everyone to have an epic time. I don’t want anyone to get hurt. And there’s times where you’re just like, “Oh man, this is looking sketchy.”

Turnstile were a big highlight last year. Their merch booth had a huge line all day, but they were originally slated to perform just a short set. What happened?

Andrew W.K. had to cancel at the last minute, literally the day before, [but] the idea to put Turnstile in that moment was so perfect. You had all those glowing balloons overhead, and to this day when I see that footage or pictures from it, it gives me goosebumps. The energy and the excitement and the anticipation were so palpable, and it was right before Turnstile completely blew up. The album [GLOW ON] was out, they were already on their way, and everyone knew every single song, but they hadn’t yet blown through the ceiling. So, it was one of those really special moments that we all get to share.

When Brendan Yates’ microphone went out on the first song, “MYSTERY,” the whole crowd just carried the show until they got it working again.

Yeah, we were like, “It doesn’t matter.” Like, dude spinning around and giving a full-body, explosive performance, even with a microphone that’s going out, is plenty, because we know every single word, and we know exactly what our role is in this performance. 

Do you have any gut feelings on who might be one of the breakout bands this year? 

I think it’s possible there’s gonna be a few. I think Drug Church is a band that’s on the edge. I think Koyo is a band that’s on the edge. Belmont is another one. Fiddlehead. There’s so many that I feel are maybe already further along, but I just see them going way higher.  

2021 was the festival’s return after two decades. What brought it back? 

The short answer is that a friend who’s also now a business partner in this effort, Johnny Grimes, a local scene kid that came to a bunch of the shows I promoted 25 years ago, pulled on my heartstrings with the thought of [a 20-year reunion]. “What if there are people at Furnace Fest that you’ll never get to see again, apart from this reunion, this celebration?” If I’m being completely transparent as a Christian and how I see the world, even though eternity is absolutely a part of how I view things, there’s something about the temporal nature of life here and the opportunity we all have been given. So that was it, to be completely raw with you. Now, having been there, I can’t believe I almost turned that down. Had he not [made his pitch], I don’t think I would’ve signed on for it, and I would’ve been so wrong to not do it.

Read more: See just how cruel Cupid can get in Paris Texas’ new “cyanide” video

These achievements are well deserved as the group penned an accessible and timeless record of classic emo and pop-punk-tinged melodic hardcore that explores their influences and pop sensibilities in the truest form. While the record is a considerable shift from their classic Northeast straight-edge hardcore sound, the band manage to retain their core ethos and values without missing a beat. Anxious, whose members are all in their early 20s, are proving that they are wise beyond their years, and one can only imagine the journey that’s in store for them.  

Since the release of your debut album, Little Green House, it seems like the reception has been overwhelmingly positive. Why do you think the album is resonating with people so much? 

GRADY ALLEN: It’s very surreal. People liked our last EP Never Better and thought it was cool, but I never saw Anxious as a band that resonates with people. I think it’s resonating with people now because the band stepped up in every possible way, and a lot of that can be attributed to having two years of sitting with the pause button on. We were able to work on the record, the dynamic of the band and the songwriting. 

DANTE MELUCCI: I think when we were writing the songs, we were trying to make melodies that weren’t tied down to a certain genre or scene. I was looking to a lot of my pop influences from being a kid, so I pulled that pop sensibility in to make something all-encompassing and accessible. 

Little Green House feels like a journey through so many different places, both sonically and lyrically. What went into the writing process specifically? 

ALLEN: Going through themes and stylistic shifts, all of that was very conscious. However, cohesion was key and something we were thinking about incredibly hard. We had never recorded a body of material that large before, so when we were working on the songs, we wanted to really focus on placement, dynamics and contrast.

MELUCCI: It always makes me proud when people say that they like the overall flow of the record. Going back to early pop influences, I was thinking about the B-side of the Beatles’ Abbey Road and how the songs transition so well. 

Speaking of the album’s sequence, “Wayne” sticks out to me, as it’s a perfect break from the intensity and finds the band in a stripped-down place. Plus, the background vocals are left field in the best way. 

ALLEN: That song came together super last minute. We had studio time scheduled about two weeks away, and we were sending songs back and forth to our friend Pat [Flynn], who sings in the bands Fiddlehead and Have Heart. He told us that the record needed a break and a palate cleanser to transition into side B. From there, Dante came in with the whole song and chord progressions. For the backing vocals, and when we got the mixes back, Dante was like, “The bump bumps aren’t percussive enough, and are falling flat.”

MELUCCI: I was thinking “Mr. Sandman” and ’50s doo-wop for the background vocals. [Laughs.] 

Beyond the music, you have developed a curated aesthetic, down to the album artwork and music videos. How important are aesthetics to the greater picture of the band?

ALLEN: It’s super important to us. The energy we were trying to create was something playful and fun, with childlike energy. The record is rooted in coming of age and reflective stuff, and I think we wanted the aesthetics to play into those things. 

MELUCCI: Naming the record was such a nightmare for so long because we knew it had to have a name that isn’t directly referencing anything on it but captures the overall sonic aesthetic of the record. I almost like to think of the record as a movie or musical called Little Green House where all the stories live within. 

Something that’s so charming about the band is the effective use of two vocalists, which creates a distinct sound. What is the delegation process like between the two of you for vocal parts? 

MELUCCI: It was brutal this time around.

ALLEN: I think in one or two instances, it was brutal, but it wasn’t that bad. [Laughs.] Dante did a large share of songwriting on this record, and naturally, I think there is a lot of ownership and possession that comes with that. There were some things that felt immensely personal, so there was always the conversation of what makes sense for one of us to sing and what’s appropriate in terms of the delegation. 

MELUCCI: That also added to the fun of developing the songs. 

Connecticut has always had a rich history in punk and hardcore music, but it feels like Anxious are really putting the state back on the map for this scene for the first time in a while. 

ALLEN: Connecticut means a ton to me. It has a tendency to be overlooked because the Northeast has so many legendary scenes in close proximity to each other. However, the reality is that in the late ’80s, it was the genesis of straight-edge hardcore. Outside of Anxious, the scene is definitely on an upward tick with a lot of great bands. I’m immensely proud to be from Connecticut. 

This story appeared in issue #407, available below.

Read more: How Thrice challenged themselves like never before on ‘Horizons/East’

In “Dead Wake,” pulsing drums and soft synths carry a low heat that occasionally erupts into an absolute blaze. Meanwhile, “Scavengers” (Acoustic) offers bits of twilight that dance through every smooth, understated chord.

In a press release, vocalist Dustin Kensrue offered a look into the creation of “Dead Wake.”

“This is a tune we were working on during the Horizons/East sessions but hadn’t completed,” Kensrue says. “I’ve always been fascinated by songs that only have one chord progression, but feel expansive and varied through the use of shifting melodies and layers, and we wanted to play with that format here.”

Additionally, Thrice will tour with Bayside this summer. Get your tickets here and check below for a list of dates.

Listen to “Dead Wake” and “Scavengers” (Acoustic) below.

Thrice and Bayside tour dates

Read more: How Thrice challenged themselves like never before on ‘Horizons/East’

The tour comes as an opportunity for Thrice to further support their last record, Horizons/East, which came out in September 2021.

Thrice drummer Riley Breckenridge spoke about the tour in a press release.

“We had a blast on our Horizons/East headline tour last fall and can’t wait to get back on the road with Bayside and Anxious and share more of the record with you all.”

Bayside also released an acoustic EP, titled Acoustic Volume 3, in 2020.

The run kicks off June 3 in Pennsylvania before concluding June 21 in Texas. Presale tickets are available now, with all additional tickets on sale March 11 at noon EST.

Check out a full list of tour dates below, and grab tickets here.

Thrice and Bayside co-headlining tour dates