Códigos de preventas para I See Stars en Raleigh, NC

This winter-bred emo and post-hardcore caravan grew as the colder cousin to Warped, and on many nights The Used sit at the center. Formed in Orem, Utah, the band blends tuneful choruses with sandpapery screams, a mix that helped define the bill's sound.

Winter roots, Utah grit

After seasons when the brand went quiet, its recent revivals lean on memory while keeping the edge that made these nights feel urgent. Expect a set that swings from The Taste of Ink and All That I've Got to tougher cuts like Buried Myself Alive and Pretty Handsome Awkward.

Songs people rally around

The room usually mixes longtime fans comparing old laminates with newer listeners who found the songs through playlists, and the volume spikes when a chorus hits. Lesser-known note: All That I've Got came from Bert McCracken grieving his dog, and early label interest followed producer John Feldmann championing their demos. To be transparent, the set and production thoughts here are educated guesses and may vary night to night.

The Black Hoodie Constellation

The scene feels lived-in and welcoming, with black hoodies, worn Vans, and band tees that span first-press art to fresh prints. You notice denim jackets with stitched patches, eyeliner that nods to mid-2000s videos, and a few carefully saved wristbands from earlier runs.

Nostalgia, but lived-in

People trade favorite bridge moments and compare which closers hit hardest, and the loudest shouts arrive when a drum fill tees up a chorus. Merch leans practical and nostalgic at once, from zip hoodies and throwback logos to limited vinyl that moves fast at the table.

Rituals old and new

Chants build before the house lights drop, and mid-set you hear tight claps on snare hits as the crowd locks to the groove. It is less cosplay and more community, where old lyrics carry new weight and the room treats them like shared notes passed forward.

Riffs First, Lights Second

The show is music-forward, with The Used leaning on tight rhythm shifts and clear chorus landings to keep momentum. Guitars often sit in a lowered tuning for thicker chug, while the bass adds a mid-range growl that keeps the notes readable.

Tuned down, turned up

Drums favor straight, driving patterns that open into crash-heavy choruses, which makes the big hooks feel larger without speeding up. Vocals move from clean lines to a strained edge, and the band leaves pockets of space so those harsher textures hit cleanly. They like to stretch a bridge or tag a chorus for a shout-back, turning a three-minute track into a short, satisfying arc.

Hooks with bite

Lighting tends to be cool whites and blues with crisp hits on drum accents, accenting the stomp without stealing focus. A small but telling detail is how the guitars simplify verse voicings live, saving the wider chords for choruses so the lift feels earned.

If You Like These, You'll Click In

Fans of My Chemical Romance will recognize the dramatic swings from whispers to wide-open choruses and the theater of big singalongs. Thrice brings a craftsman vibe to heavy-melodic songs, which lines up with the guitar-first focus many nights here.

Kindred sparks

Senses Fail share the confessional lyrics and pogo-ready beats that turn club floors into one moving block. Taking Back Sunday attracts crowds who love call-and-response hooks and fast mic passes, a habit that fits these stages.

Shared live DNA

Silverstein blends bright leads with shout-back parts, so their fans tend to enjoy the same balance of melody and grit. These artists circle the same rooms, prize high-tempo catharsis, and draw listeners who care about words they can yell back. The overlap comes from shared era roots and a preference for elastic dynamics over faceless heaviness.