Wage War It Calls Me By Name Tour presale codes

Wage War come from Ocala, Florida, and they cut metalcore that balances barked verses and soaring hooks.

Florida roots, heavy lift

Their sound leans on low-tuned riffs, quick-stop breakdowns, and clean choruses that feel earned. On this run, a set built around Stitch, Low, Circle the Drain, and The River feels likely. Expect older cuts to hit harder while the melodic singles carry the biggest sing.

What the room feels like

The room usually blends day-one fans, newer rock-radio converts, and hardcore kids who keep the pit moving without shoving the edges. Trivia worth knowing, they tracked early records in Florida with producer Andrew Wade and A Day to Remember's Jeremy McKinnon lending guidance. Another small quirk, guitarist Cody Quistad often cues transitions with a quick head nod so drops land together even when the band stretches a breakdown. Take this as an informed preview. Actual songs and stage touches can shift by the night.

The Metalcore Microcosm Around Wage War

The scene is practical and loud, with black tees, breathable shorts, and worn Vans or boots built for quick steps.

Uniforms of the pit

You will spot wristbands from past festivals, fingerless gloves, and earplugs on lanyards, a nod to fans who go heavy often. Circle pits open on the obvious cues, but there is also a steady habit of hands up for choruses, especially when Wage War leans into the cleaner hooks. Call-and-response bits stay short, with the front rows echoing single words before the drop and the back rows clapping on the snare.

Rituals that travel city to city

Merch tilts toward stark logos, back-print tracklists, and a couple of hats you can wear the next day. Between bands, people trade core-era memories from the 2010s and swap Florida-scene notes, and the tone stays friendly and watchful. After the set, talk usually centers on which breakdown landed hardest and which melody stuck on the walk out.

How Wage War Builds the Hit, Then Breaks It Down

On stage, Wage War put vocals first, with Briton Bond handling the bark while Cody Quistad carries the tuneful lines.

Built for impact

Riffs stack around tight, palm-muted patterns, and the band drops to half-time to make breakdowns hit like a floor giving way. Choruses often rise on simpler chords so the melody can float over the crush. Live, they sometimes bump the tempo a notch and add a one-bar pause before the final slam, which makes the room take a breath and then erupt. The drummer locks kick to guitar chugs, while bass adds grit that thickens the low end without muddying the hook.

Little choices, big payoffs

A small but telling detail, subtle backing pads double key harmonies so Cody can play and sing while keeping the blend steady. Lights tend to snap on snare hits and color-shift at drops, framing impact without stealing focus.

If You Like Wage War, You Might Gravitate Here

If A Day to Remember sits in your library, the link is clear because both acts mix punchy hardcore patterns with big, singable hooks.

Nearby sounds on the map

Fans of Beartooth will hear the same cathartic shout-alongs and mid-tempo stomp that turns pits into bounce zones. Fit For A King lands nearby for the weight of the chugs and the clean-versus-harsh contrast that Wage War also leans on.

Shared pit language

For more textured riffing but a similar show-of-hands energy, The Devil Wears Prada is a natural neighbor. These artists attract listeners who like modern gloss on heavy foundation, so sharing a bill or a playlist between them feels easy.