The OBGMs presale codes

This Toronto punk group built its name on fast songs, big hooks, and sharp humor. They came up in the city's DIY rooms, then doubled down on bite and melody with The Ends.

From DIY basements to big rooms

The name started as The oOOhh Baby Gimme Mores, a mouthful that hints at their playful streak. A likely set leans into sprinting anthems like Cash, Not Again, All My Friends, and Beat Up Kidz.

What you might hear

You see pockets of moshing up front, head-nodders by the bar, and friends swapping earplugs between songs. Early buzz came from NXNE and Afropunk slots, plus a knack for turning stage banter into mini-rallies. Expect a crowd that skews diverse in age and style, with denim next to bright sneakers and lots of grins after the false stops. Notes on songs and production here come from informed inference off recent eras, not from any official run-of-show sheet.

The OBGMs Scene: Codes, Chants, and Style

You will spot patched denim, band tees, and clean sneakers next to boots, plus a few vintage Raptors caps nodding to home ties. Small pits open and close fast, with people pulling each other up and a quick thumbs-up before the next riff.

Denim, pins, and grins

Chants of O-B-G-M-S pop up between songs, and the crowd often shouts the last line of a chorus back without being asked. Merch skews simple and bold, with black-and-white prints, enamel pins, and the odd zine or tape for the collectors.

Pits with purpose

You might hear folks trading favorite deep cuts and arguing over whether All My Friends or Cash hits harder live. Newcomers are welcomed by regulars who explain when to join the clap breaks and when to give the pit some room. It feels like a scene that values pace and release without posturing, more about sharing the spark than proving anything.

Why The OBGMs Hit Harder Live

Live, the vocals snap from a bark to a clean line, which makes the choruses jump without losing bite. Guitars ride a tight, mid-gain crunch, leaving space for drum accents and the bass fuzz to punch through.

Hooks with teeth

Songs often clock under three minutes, but they add suspense with abrupt drops, count-offs, and final-chorus stops and shouts. A neat live habit is cutting the band to just kick drum and crowd claps before the hook lands, which makes the return feel bigger. They also like to shift a riff up an octave in the last pass, a simple move that adds lift without slowing the pace.

Short songs, sharp turns

Lighting is crisp and minimal, often white strobes on snare hits so the rhythm feels visible. The rhythm section drives the arc, letting the guitar hang back on verses and surge on choruses for contrast.

If You Like The OBGMs: Kindred Road-Crushers

Fans of PUP often click here because both acts turn high-speed punk into shout-along hooks. METZ brings the same Toronto grit and thick guitar grind, so the volume and texture feel familiar.

Loud kin, quick hooks

IDLES share the rally-cry energy and crowd-wide call-and-response, even if the accents and swing differ. If you like the tuneful bite and cheeky stage chatter of The Dirty Nil, this show scratches that itch too.

Shared sweat, different flavors

And Turnstile overlaps on bounce and bright, danceable breakdowns that keep pits moving without dragging. Together, these artists trade in speed, concise song forms, and a sense that the room matters as much as the record.