New chapter after loss, same core bite
All That Remains came up from New England metalcore, blending melodic leads with punchy rhythms. The big context now is the band carrying on after guitarist Oli Herbert's 2018 passing, with virtuoso
Jason Richardson stepping in and sharpening the technical edge. Expect a set that leans on
The Fall of Ideals, with staples like
This Calling,
Two Weeks, and
The Air That I Breathe balanced by the radio-ready
What If I Was Nothing. The crowd skews mixed age, from longtime fans in faded tees to younger guitar nerds tracking Richardson's picking, with a friendly pit and plenty of earplugs up front. You will likely also hear hints of their early melodeath streak while the choruses stay clear and easy to shout. Trivia: the breakthrough record was cut at Zing Studios in Massachusetts with
Adam Dutkiewicz co-producing, and singer
Phil Labonte originally fronted
Shadows Fall. Special guests
Born of Osiris and
Dead Eyes widen the bill from tech-heavy grooves to modern hooks, so the energy shifts between precision and anthem.
Songs likely in play tonight
Set choices and production notes here are inferred from recent runs and could change by venue.
The All That Remains Scene, Unvarnished
From rail rituals to back-bar nods
The scene mixes patched denim vests, plain black tees, and a few folks in office clothes who came straight from work. Expect a respectful pit that opens fast on
This Calling, with quick pick-ups and space for anyone who wants out. Hands go up for the call-and-response in
What If I Was Nothing, and phones come out for the first chorus before pockets again. Merch lines favor classic logo prints and one-off foil variants tied to
The Fall of Ideals, plus small stacks of guitar picks on lanyards.
Merch tables and micro-scenes
You will hear people trading tone talk about
Jason Richardson's rig or asking which tuning a song sits in, then laughing about how low it sounds. Between sets, strangers compare setlist guesses and swap favorite deep cuts like
Chiron without gatekeeping. It feels like a skill-sharing crowd more than a costume party, with room for both pit runners and back-row nodders.
How All That Remains Hits Live, Note by Note
Muscle first, melody close behind
Phil Labonte shifts from a sharp bark to clean, steady choruses, and the band leaves space so those hooks land.
Jason Richardson brings surgical leads, often adding tapped runs or harmonics that brighten the top end without crowding the vocals. Rhythms sit in drop tunings like C or B, which gives the riffs a thick, low push while the bass locks to the kick. Live, they sometimes bump tempos a notch for energy, then pull back for half-time breakdowns that make the big chorus pop harder. A lesser-known move: on older songs, Richardson occasionally reharmonizes a solo ending, letting the final note climb instead of dive, which adds lift into the chorus.
Small tweaks that change the feel
Drums favor crisp, dry cymbals so the double-kick speaks, and guitars are panned wide so the melodic lines read cleanly. Lights are mostly cool blues and whites with strobes tied to drum patterns, framing the music rather than fighting it.
Kindred Heavyweights for All That Remains Fans
Where riffs meet chorus hooks
Fans of
Killswitch Engage will recognize the mix of heavy chugs and bright, cathartic choruses that define much of this show.
August Burns Red fits the bill for tight rhythm work and tasteful, melodic leads that still hit hard live.
Trivium overlaps on big-voice hooks and guitar hero moments, especially when the tempo sits in that driving mid-fast pocket. If you like the polished, metal-meets-radio approach of
Bullet for My Valentine, you will appreciate how the headliner balances crunch with clean melody.
If you like them, you will like this
All four also draw crowds that value pit action but respect songcraft, so the between-song mood tends to be upbeat rather than aggro. The throughline is modern metal with clear vocals over muscular riffs, not death growls all night. Guitar fans in particular move easily among these tours because the lead work is tuneful as much as it is fast.
