THE DEVIL WEARS PRADA: FLOWERS TOUR presale codes

Formed in Dayton, Ohio, the band grew from frantic metalcore to a darker, melodic strain without losing bite. Today they balance Mike Hranica's raw shouts with Jeremy DePoyster's clean hooks and synth textures that color the riffs.

Ohio roots, modern mood

Expect a set that threads Salt, Chemical, and older crushers like Outnumbered and Dez Moines. The room usually skews mixed in age, from Warped-era fans in sun-faded tees to newer metal listeners trading two-step footwork up front. You will notice earplugs clipped to jackets, drum-stick keychains, and people comparing patch designs during changeovers.

Setlist threads and who shows up

Guitar work now leans through Kyle Sipress's tight, melodic lines while Giuseppe Capolupo keeps kick patterns precise. Trivia worth noting: the band cut the Zombie EP with field-style sound cues, and Hranica has published tour journals that shaped later lyrics. Another small quirk is their habit of launching transitional synth drones between songs instead of full stops. All of this is drawn from recent patterns and may differ once you are in the room.

The Devil Wears Prada crowd, unmasked

The scene leans practical and expressive, with black denim, worn sneakers, and band caps that look broken-in on purpose.

What people wear and carry

You will see vintage Warped-era shirts next to newer floral designs that nod to the theme, and a few DIY back patches with stencil art. People tend to give space when the pit opens, and a quick tap on the shoulder is the usual apology when lines cross.

How the room moves

Call-outs happen on cues, like the staccato count before a drop or the spoken intro to Outnumbered, and the room answers in rhythm. Merch tables move on art-forward posters and embroidered hats, while long sleeves with clean fonts are the slow burn buy. Between sets, fans trade show stories about the first time they heard Zombie live and which breakdown still rattles their ribs. The overall feel is communal and steady, focused on shared release more than spectacle.

Soundcraft in The Devil Wears Prada's set

The live mix centers on harsh-to-clean vocal swaps, with Hranica cutting through the mids and DePoyster smoothing the edges.

Built for the swing between crush and carry

Guitars lock to kick drums in short, palm-muted bursts, then open into ringing chords that let the synth pads breathe. Many songs start faster than the studio versions, then pull back for half-time breakdowns that reset the pulse.

Little choices that hit big

A small but telling choice is their use of low tuning, often around drop B, which lets the bass and guitars share punch without mud. Capolupo's kick is usually triggered for clarity, so the double-time parts stay sharp even when the room booms. They like to tweak forms live, stretching the bridge of Salt into a brooding drone or tagging an extra hit before the last chorus. Lights tend to match the mood, with cold whites for the Zombie cuts and warm washes when the melodies take the lead.

Neighbor Noise: The Devil Wears Prada's kindred on the road

Fans of August Burns Red often cross over because both acts ride complex riffs with tight, uplifting grooves.

If these bands click, this will too

Underoath shares the scream-and-sing push and a knack for tension that blooms into big hooks. If you like the punchy low-end chugs and earnest choruses of Fit For A King, this show hits a similar comfort zone.

Why the overlap works

We Came As Romans brings a comparable mix of synth shading and crowd-ready chants, which mirrors the arcs in newer material. Across these bands, pacing swings from surging pit parts to reflective mid-tempo drops, and their crowds prize strong musicianship over flash.