Miss May I x Born Of Osiris presale codes in New Orleans LA

This co-headliner pairs Ohio metalcore lifers Miss May I with Chicago-area shapeshifters Born Of Osiris, a mix of serrated riffs and neon keys. Miss May I lean on classic twin-guitar gallop and big clean hooks from bassist Ryan Neff, while Levi Benton drives the screams; Born Of Osiris counter with polyrhythms, Joe Buras' synth leads, and Ronnie Canizaro's bark.

Two lineages, one shared pit

Expect Miss May I to fire off Relentless Chaos and Hey Mister, songs that still spark a fast two-step before the half-time drop. Born Of Osiris usually threads shimmering keys across downtuned chugs, so Machine and Angel or Alien are strong bets for the spotlight treatment. You will see patched vests from the Warped-era next to fresh Sumerian-branded hoodies, plus a cluster up front watching the keyboard runs as closely as the kick drum. BOO wrote much of The New Reign while they were still teenagers and once performed under the name Rosecrance, a deep-cut Chicago reference. Treat these notes as road-formed guesses, not scripture, because rooms and routing bend both song choices and lighting cues night to night. Line up your crew when this bill hits your city.

Denim vests, serpent tees, and lion crests

The floor splits into two personalities: circle runners in athletic shorts and windbreakers, and nodding riff-watchers in all-black with earplugs tucked in. You will spot Miss May I's lion crest on vintage tees beside Born Of Osiris' geometric serpent prints and tour rope hats, a tidy snapshot of each band's iconography.

Rituals of the room

Between songs, pits cool with a soft buzz of water bottle swaps and friends comparing forearm dings, then roar back when a drummer counts in with sticks overhead. Crowd calls tend to be quick and purposeful, like a bark before the drop or a count-in clap, and you can hear a low choir carry the clean refrains while the front rows scream. Fashion runs practical: taped glasses, beat-up skate shoes, and a few patched denim vests that have outlasted more than one scene microtrend. It reads less like posturing and more like a set of rituals that make a loud room feel navigable and shared.

Polished chaos: screams, stacks, and synth bite

Levi Benton pushes his mids forward live, and Ryan Neff floats a clean line above, so choruses land like a release valve after jagged verses. Born Of Osiris lean into interlocking parts: guitars ride a low, open-string drone while Joe Buras fires bright, arpeggiated leads that mirror the kick pattern.

Arrangements built to slam cleanly

That blend gives the keys melodic duty and lets the riffs focus on groove, a smart split that keeps heavy sections from turning to mush. Drummers on this tour favor tight, clicky kicks and crisp china accents, which frame the staccato chugs and make mid-song tempo shifts feel deliberate. Miss May I often extend an outro by a few bars to milk a chant, while BOO will flip a riff's count for a bar to set up a bigger slam. Guitars sit in low tunings that let sustained open notes ring under lead figures, giving the keys and vocals a bright rail to ride. Lighting follows the music's math rather than flooding the room, with quick strobe flurries on breakdowns and skittering color sweeps when the synths take the lead.

Kindred pit energy, shared playlists

Fans of August Burns Red will feel at home here thanks to precision riffs, earnest choruses, and pits that move on the downbeat. If you track with The Devil Wears Prada, the Ohio-via-midwest bond and metalcore-to-melody swing lines up tightly with Miss May I's arc.

Map your sonic neighborhood

Sumerian faithful following Veil of Maya will catch the same glassy synth lines over syncopated low-string patterns that Born Of Osiris flip so well. After The Burial fans often chase the elastic, palm-muted grooves that make breakdowns land without losing tempo, and that quality is thick across this bill. Fit For A King listeners, especially those drawn to big sing-alongs after a barked verse, will recognize the balance of weight and lift. Across all five, the overlap is less about genre tags and more about crowds who want tight execution with room for a cathartic shout.