Five for Fighting presale codes

Five for Fighting is the piano-driven project of a Los Angeles songwriter who turned hockey grit into tender pop, while Edwin McCain brings Carolina roots and a raspy, soulful tenor. Together they favor clear melodies, honest stories, and steady grooves that feel built for real rooms, not just radio.

Two catalogs, one room

Expect them to trade short solo stretches and then meet at center for a shared cover or harmony run. A likely mid-set core features Superman (It's Not Easy), 100 Years, I'll Be, and I Could Not Ask for More, with a few deep cuts rotated in city to city.

Little-known footnotes

The stage name Five for Fighting comes from the hockey penalty, and I Could Not Ask for More was written by Diane Warren before it became a McCain staple. Crowds skew from late 20s to 50s, with couples, old college friends, and a few first-time concertgoers; you notice quiet during verses, warm harmonies on choruses, and denim jackets next to date-night blazers. Early fans may swap Smallville-era memories when Superman (It's Not Easy) starts, while parents tug teens into the hook of I'll Be. These notes on songs and staging are informed guesses from recent runs and could shift when you see them.

The Quiet-Loud Heart of a Five for Fighting & Edwin McCain Night

This crowd shows its care in small ways, like keeping chatter low during ballads and aiming harmonies at the big refrains.

Quiet stories, loud choruses

You will spot faded early-2000s tees, neat button-downs, floral dresses, and well-worn boots, plus a few fans in hockey jerseys nodding to Five for Fighting. People trade first-dance memories when I'll Be is called, and you hear soft whoops when the high tag lands. During 100 Years, phones stay down more often than not, with pockets of the room counting along at the verse numbers under their breath. Merch leans classic: lyric-line shirts, a clean tour print, and maybe a signed vinyl table for those building a living-room stack. Between sets the house playlist tends to favor late-90s and 2000s adult alt, which keeps the room in the right headspace without stepping on the show. Post-show, you catch small groups comparing which bridge gave them chills and promising to dig into the deep cuts they just heard.

Craft in Motion with Five for Fighting & Edwin McCain

Five for Fighting leans on steady piano patterns that leave room for a high, airy top note, and he saves his power for the hook so the verses feel like a conversation. When the band joins, a light-touch drummer and a singing electric guitar carry the lift while a cello or violin adds warmth without crowding the melody.

Arrangements built for breath and lift

Edwin McCain brings a grainier tone, sliding from chest voice to a smooth cry, and his long-time sideman often colors the edges with sax or keys that echo the vocal line. They tend to keep tempos unhurried, pushing at choruses and relaxing between lines, which makes the big notes land without strain. A neat detail: McCain often plays I'll Be with a capo around the second fret, giving the chords an open-ring shimmer that invites group singing. You might also hear Five for Fighting stretch the intro of 100 Years, lingering on the piano before the band enters. Lights stay warm and simple, mostly amber and deep blue, supporting the music rather than chasing it.

Kindred Lines: Five for Fighting & Edwin McCain Fans' Shortlist

Fans of Gavin DeGraw will recognize the piano-soul mix and confessional hooks that power both bills.

If these resonate, this show fits

If you lean toward singalong choruses and bright pop-rock, Train sits in the same lane, with a similar mix of buoyant singles and earnest mid-tempo cuts. Acoustic-pop loyalists who track clever stage banter and quick dynamic shifts often follow Matt Nathanson for the same reasons. The Southeastern storytelling thread, plus a warm bar-band pulse, lines up with Hootie & the Blowfish, especially for fans who came of age in the late 90s. If you like soft edges over solid grooves, and singers who still hit the money notes without shouting, these pairings translate well onstage. All four acts draw crowds who value songs you can carry home, not just volume.