A little cooler weather hit day two of the Vans Warped Tour, but the pop-punk and emo bands still delivered plenty of heat.
Elder pop-punk emos laced up their Vans, dressed in their festival best, and grabbed their Tylenol as they headed out for the second day of the Vans Warped Tour fest. Doors opened early at 11 a.m. instead of noon to fit in the stacked lineup of artists set to take the stage throughout the day.
We haven’t talked much in our coverage about the spectacular, well-oiled machine of staff that keeps this festival on its rails, delivering a seamless experience from start to finish. It all begins with the highly secretive inflatable schedule board that houses the set times and band list for the day. In a world where everything is immediate, it’s hard for fans to wait until doors open to plan out their schedule. Even with the detective work fans do—matching band tour dates with Warped Tour stops—the set times successfully stay under wraps, ensuring that everyone gets a genuine surprise when the gates finally open.
Add to that the incredible turnaround time between sets. With only minutes to flip a stage, the crew moves with precision, speed, and teamwork that would impress any touring professional. Orlando’s Warped Tour spanned eight stages and welcomed 80,000 fans, with stages wrapped around the outside of the stadium and a massive festival village in the center filled with nonprofits and fan experiences. Nonprofits promoted causes ranging from cancer awareness, Music Saves Lives, and mental health resources, to everything in between. Fans could explore the Punk Rock Museum exhibit detailing the genre’s evolution, meet bands at pop-up signings, or chase surprise guest appearances throughout the day.
One of the biggest surprises of the weekend was spotting Deryck Whibley of Sum 41 on the festival grounds. He was there launching his new clothing line, Walking Disaster, a project years in the making. In an interview with The Noise, he mentioned that Warped Tour felt like the perfect place to debut it—after all, Warped is where Sum 41 first broke through. Standing at the Walking Disaster tent, interacting with fans, reminded him of the early days of playing the Tiki stage and hustling to promote the band. He even stopped by the School of Rock tent to jam with the kids, offering a moment that perfectly captured what this era of Warped Tour is about: bringing together people at every level of the music industry, celebrating community, and giving new bands and young talent a platform to shine.
Day two had us posted up at the Vans Right Foot Stage to catch Orlando, Florida’s own Magnolia Park — and they wasted no time making their presence known. They came out swinging with Misfits before powering through a seven-song set. By the time “Omen” kicked in, guitarist Tristen Torres was off the stage, throwing himself into the crowd and forming a circle pit, fully embodying the chaotic, communal spirit that Warped Tour is built on.
“Shallow” followed, striking a beautiful balance between soaring melody and gritty growls. For a band experiencing their first-ever Warped Tour, Magnolia Park performed like seasoned veterans. They fit seamlessly into the lineup, feeding off the day’s momentum while adding their own spark to it.
The band debuted their newest single, “Chasing Shadows”, showcasing their signature ebb and flow — heavy meeting ethereal, punch meeting shimmer. They closed with the intensity of “Animal”, splitting the crowd straight down the middle for the first “Wall of Death” of the day. It was an epic moment and the perfect way to set the tone for what would become an increasingly heavy afternoon on the main stages.
We headed over to Sace6 on the Ghost stage next. Sace6 is one of the newest and most intriguing additions to the Warped Tour lineup — a project built on evolution, experimentation, and a refusal to fit into a single genre box. Originally formed as a solo endeavor by vocalist Sace, the project took a major leap forward in late 2024 with the addition of guitarist and producer Noah Thomas.
Musically, Sace6 blends crushing heaviness with emotional atmosphere, creating a sound that pulls equally from alternative metal, emo, and shoegaze. Their songs hit hard with thick, downtuned guitars and gritty riffs, balanced by haunting soundscapes and a sharp contrast between clean melodies and unclean vocal intensity. It’s a style that feels both familiar and refreshingly new, the kind of genre-mixing that resonates with modern fans who grew up on everything from metalcore. While Sace6 cites influences like Deftones, Three Days Grace, and Sleeping With Sirens. Sace6 has a unique place on Warped Tour: heavy enough for the pit, emotional enough for the sing-along crowd, and atmospheric enough to stand out in a lineup filled with long-established veterans.
Trxvis is a rising pop-punk rocker injecting new life into the genre while proudly carrying its roots on his sleeve. Born and raised in SoCal, he is a full fledged West Coast punk scene artist. Pulling inspiration from icons like blink-182, Green Day, and The Offspring, he blends modern production with classic punk hooks to create high-energy anthems that feel like late-90s summers revived for a new generation.
His set emcompassed that. From the moment he took the stage he was full throttle. Jumping from back to front. Jumping from one speaker to the next. It was non stop movement the entire time. With tracks like “Downhill” which really gave him that push into the scene, he has been able to play iconic venues like The Viper Room and Whisky a Go-Go, not to mention a slot on the legendary Vans Warped Tour stage.
We made our way back to the Vans Right Foot Stage just in time to see We The Kings take over, a true Warped Tour staple whose presence immediately brought a wave of feel-good nostalgia across the crowd. They’ve played various tour stops throughout the 2000s, and the minute they walked out, that familiar energy flooded the field. We promise you: you will be jumping and dancing before they even say “Check Yes Juliet.”
They opened with a gorgeous a cappella chorus of “Secret Valentine,” pulling longtime fans right back into their early pop-punk memories. From there came a run of upbeat staples, “Find You There,” “She Takes Me High,” and “I Feel Alive” (complete with Travis’s doing a squat-down-and-jump-up cue to the audience that sent the whole crowd flying).
“Say You Like Me” and “Skyway Avenue” triggered massive sing-alongs before the band surprised the crowd with a full-volume cover of “Mr. Brightside.” The field erupted, dancing and shouting every word.
And yes… they closed with “Check Yes Juliet,” complete with an a cappella reprise that wrapped the whole set in pure Warped Tour magic.
It was true ping-pong across the festival grounds as we made our way to the Ghost Stage — the home base for the heaviest acts of day two. We arrived just in time for Attila to take the stage, and they wasted no time detonating one of the wildest sets of the entire weekend. They opened with the punch of “Middle Fingers Up,” immediately sending the crowd into motion, and by the time “Shots for the Boys” hit, the pit had erupted into a massive circle that wrapped completely around the sound booth — somehow huge and still hilariously respectful in classic Warped fashion.
Attila kept that momentum going with a run of heavy-hitters like “AMERICA’S REJECTS,” “Bite Your Tongue,” and the fan-favorite chaos of “Moshpit.” They even dropped the live debut of “CONCRETE THRONE,” which landed with absolute force and had fans throwing down like it had been in the setlist for years. Every song hit harder than the last, stacked with breakdowns that rattled the barricade and kept fans off their feet from start to finish.
By the time they closed with “About That Life,” the energy was off the charts, middle fingers up, crowd roaring every word, the entire pit jumping as one.
Off we went back over to the Vans Left Foot Stage for yet another complete genre whiplash — this time for the iconic Bowling For Soup. The band carved their name into pop-punk history back in the early 2000s with massive hits like “1985,” perfectly capturing everything it means to be carefree, ridiculous, and have a damn good time doing it. And that’s exactly the energy they brought to Warped Tour.
They strutted onstage to “Here Comes Bowling For Soup” before launching straight into “The Girl All the Bad Guys Want,” which instantly became one of the biggest sing-alongs of the afternoon. When the song hit the bridge, the crowd took over completely — every voice screaming the lyrics back at the band. The guys stopped, listened, took it in, and Jaret Reddick responded with, “Well that was fcking nice of you.”*
From there, they joked about playing Disney for two days — which was awesome — but insisted nothing compares to swearing and drinking beer freely “at the holy sht fcking Warped Tour, fck.” The crowd roared, and they slammed into the final chorus with even more energy.
The entire set was just pure fun: dancing, crowd surfing, heads bobbing, fans laughing between songs. Bowling For Soup knows exactly how to turn a festival crowd into a massive party, and they did it effortlessly with hits like “High School Never Ends,” “Ohio (Come Back to Texas),” “Punk Rock 101,” and their always-loved cover of “Stacy’s Mom.”
They closed with “1985,” a perfect nostalgic cap on a set that never took itself too seriously and reminded everyone exactly why Bowling For Soup remains one of the most entertaining, feel-good acts on any Warped Tour lineup.
Meanwhile back on the Ghost Stage, Blessthefall delivered a shot of pure metalcore adrenaline — the kind of performance that immediately reminded everyone why they became a defining Warped Tour staple in the first place. From the second they launched into “mallxcore,” the energy surged. The pit widened instantly, the crowd pressed forward, and Beau Bokan’s vocals sliced cleanly through the chaos.
They kept the pace relentless with “Cutthroat” and “Hollow Bodies,” executed with the tightness and precision that marked the band’s peak years. Bokan was completely locked in, shifting seamlessly between soaring cleans and razor-edged screams. But it was his connection with the fans that truly elevated the set. Midway through, he climbed off the stage and into the crowd, walking along the barricade, stepping up onto the rail, and high-fiving a line of outstretched hands — a moment that felt like pure, classic Warped Tour spirit.
With nearly six years since their last release, this show also marked a new era for the band. Much of the set pulled from their brand-new album Gallows, giving fans a first look at their refreshed sound. The live debut of “Venom” was a standout — heavier and darker than expected, landing with such force that even those hearing it for the first time moved like they’d known it for years. When the breakdown dropped, the entire Ghost Stage blew up.
From there, Blessthefall leaned into the era that built their legacy, tearing through “You Wear a Crown But You’re No King” and “Wake the Dead,” two tracks that transported longtime fans straight back to the mid-2010s metalcore wave. They closed with “Hey Baby, Here’s That Song You Wanted,” a nostalgic anthem that had the entire crowd shouting every word like no time had passed at all.
Taylor Acorn brought a refreshing shift in energy to Warped Tour Orlando, blending alt-pop emotion with the pop-punk bite that has made her one of the most exciting rising artists in the scene. While heavier acts dominated the Ghost and the Beatbox Stage throughout the day, Taylor’s set on the Geico stage carved out a space that was intimate, cathartic, and full of heart.
She kicked things off with “Survival in Motion,” immediately pulling the crowd in with her clean, powerful vocals that carried through the entire set. Tracks like “People Pleaser” and “I Think I’m in Love” hit with the perfect blend of confessional lyrics and punchy choruses, prompting fans to sing every word back at her. Taylor doesn’t just perform her songs — she feels them, and the crowd felt them right back.
One of the highlights of the afternoon came during “Goodbye, Good Riddance” and “Crashing Out,” both of which showcased her ability to shift from polished alt-pop to full pop-punk angst without missing a beat. Her band matched her energy flawlessly.
“Greener” and “Reminisce,” had the crowd swaying, and voices blending together in one big, collective release. You could see people visibly connecting with her lyrics, the exact kind of raw vulnerability that has made Taylor’s music explode online.
She closed out with fan-favorites like “Shapeshifting” and “Psycho,” ending her set on a high-energy note that had the entire crowd dancing, jumping, and shouting along. By the final chorus, it was clear she wasn’t just a rising artist on the bill, she was a standout.
Killswitch Engage wasted no time unleashing absolute mayhem on the Vans Right Foot Stage. From the moment they stepped out, it was clear they weren’t here to simply perform — they were here to connect. Within minutes, Jesse Leach was in the crowd, high-fiving fans, grabbing hands, and jumping straight into the sea of bodies. Adam D. followed suit more than once, leaning into the barricade and egging the crowd on with the same chaotic, hilarious energy he’s famous for. It wasn’t a separation of band and audience; it was one massive, sweaty, unified metalcore family.They opened with “Rose of Sharyn” and “In Due Time,” two songs guaranteed to ignite a pit on sight — and Orlando responded exactly as expected: with an eruption of bodies, including Leach, screaming choruses, and fists in the air. The energy stayed high through “This Fire” and “I Believe,” delivered with that trademark mix of power, precision, and heart that has kept KSE at the top of the genre for two decades.
“Hate by Design” hit with a thick heaviness that rolled through the field, while newer tracks like “Forever Aligned”blended seamlessly into the set, proving the band has lost none of their creative edge. But one of the most electric moments came with “The Signal Fire.”
They rolled through “My Curse,” “Aftermath,” and a soaring “The End of Heartache,” each one met with massive sing-alongs that swallowed the field. These songs didn’t just land; they hit with the weight of years spent shaping lives, breakups, recoveries, and everything in between.
By the time they reached “My Last Serenade,” the band had fully blurred the line between stage and audience, with Jesse once again diving into the crowd to finish the chorus shoulder-to-shoulder with fans. And of course, Killswitch closed with their iconic cover of “Holy Diver.”
Gym Class Heroes brought pure feel-good energy to the Ghost Stage, delivering one of the most upbeat and nostalgia-soaked sets of the entire weekend. From the moment Travie McCoy stepped out, the crowd instantly lit up, a mix of longtime fans who grew up blasting these songs in their first cars and a new wave of festival-goers discovering just how effortlessly this band blends hip-hop, pop, and alt-rock.
They kicked things off with “Cupid’s Chokehold,” and the field turned into a massive sing-along within seconds. Travie’s voice was smooth, warm, and charismatic, setting the perfect tone for a set built on good vibes and connection. Early on, the band surprised the crowd by bringing out Mod Sun, who jumped in with his signature chaotic energy, sending the audience into a frenzy and adding an extra punch to the first half of the performance.
The momentum stayed high with “Loved Me Back to Life” and “Clothes Off!!” — both delivered with that playful swagger Gym Class Heroes has always mastered. The crowd danced, jumped, and shouted every lyric like it was 2007 all over again. “Ass Back Home” and “Cookie Jar” brought back waves of mid-2000s nostalgia, each chorus hitting as hard as it did when they ruled radio playlists.
Travie also leaned into his solo catalog, performing “Billionaire,” which turned into one of the loudest sing-alongs of the afternoon — thousands of voices shouting the chorus back at him with full force. They closed with the undeniable, crowd-moving anthem “Stereo Hearts,” a moment that had the entire left side of the festival grounds swaying, dancing, and shouting the hook like one unified voice.
When I Prevail took the Warped Tour stage, the entire festival grounds shifted — the air got heavier, the crowd got louder, and the energy snapped into a whole new intensity. If any band was built for the modern evolution of Warped Tour, it’s them. Their blend of metalcore aggression, razor-sharp electronics, and emotional catharsis hit like a tidal wave from the very first moment.
The band opened with “The Trooper,” a bold, unexpected intro that set the crowd on edge before detonating straight into “Bow Down.” The pit immediately erupted into one of the biggest surges of the weekend — bodies flying, fists raised, and screams ripping from every corner of the field. It was a wake-up call and a warning shot: I Prevail wasn’t here to play it safe.
They tore through “NWO,” “Self-Destruction,” and “Bad Things” with brutal precision, switching effortlessly between harsh chaos and haunting melody. Eric and Brian’s vocal interplay was spotless — Eric’s screams cutting through the humid Florida air while Brian’s cleans soared above the crowd like a spotlight. Their chemistry always defines the live show, but tonight it felt especially locked in.
“There’s Fear in Letting Go,” “Violent Nature,” and “Into Hell” hit with suffocating intensity, each one building the tension higher. But the emotional peak came with “Rain,” which turned the entire front of the field into a sea of swaying bodies and raised voices. Even the heaviest fans stopped to soak it in.
Then I Prevail threw the crowd into chaos again with a genre-shifting medley of “My Own Summer (Shove It),” “Them Bones,” and “Chop Suey!” — a tribute to the bands that shaped their roots and an absolute gift to every millennial screamer kid in the audience. It was reckless, nostalgic, and unbelievably fun.
The final arc, “Hurricane,” followed by “Gasoline”, felt like the closing scene of an action movie. “Gasoline” especially was monstrous live, complete with an extended breakdown that somehow got heavier just when the crowd thought it was over. They ended with a punishing “God finale” breakdown that rattled the entire stage and left fans screaming long after the last note faded.
Motionless in White turned the Vans Right Foot Stage into a dark, cinematic battlefield the moment they stepped out at Tinker Field. Their set brought an entirely different energy to day two — colder, sharper, more theatrical — and the crowd responded instantly. You could feel the shift as soon as the unsettling opening of “The Whorror” hit, pulling fans into MIW’s gothic-industrial world before the band even fully took the stage.
They detonated straight into “Meltdown,” compressing the track into a relentless burst of energy without its second verse or chorus. The crowd didn’t miss a beat; pits opened immediately, and Chris Motionless leaned into every word with an intensity that cut through the Florida night. From there, “Sign of Life” kept the momentum climbing, the crowd screaming every line back at him like a unified choir.
“Thoughts & Prayers” brought one of the heaviest moments of the set, with the guitars slicing through the air and fans throwing down harder than they had all day. Even when “Necessary Evil” hit a technical snag and wasn’t restarted, the energy didn’t drop — the band rolled with it and kept the pace tight.
A highlight came when MIW invited Dark Divine onstage for a crushing performance of “Slaughterhouse.” The collaboration hit with the force of a sledgehammer, and the crowd absolutely lost it — circle pits expanding, bodies flying, and voices erupting during every break. It was one of the truly standout moments of the festival.
They shifted gears unexpectedly with a gorgeous cover of ILLENIUM’s “Nothing Ever After,” Chris delivering the kind of emotional clarity that left a good portion of the crowd swaying and singing under the lights. That emotional thread carried through into “Scoring the End of the World,” preceded by a haunting symphonic intro that made the entire field feel like the opening scene of a dystopian film.
Older fans screamed with joy when the band tore into “If It’s Dead, We’ll Kill It,” a blast from their earlier catalog that brought the nostalgia flooding in. Then came “Another Life” — easily one of the most emotional moments of the night — with hundreds of fans belting the chorus like a release valve after two days of chaos.
Originally not on the setlist, “Voices” was added on the spot when the band realized they had more time than expected — and the crowd exploded. It felt spontaneous, special, and tailor-made for Warped Tour’s return: a reminder that sometimes the best moments are the unplanned ones.
They ended the night with “Eternally Yours,” complete with the sweeping, romantic heaviness that has made it a fan favorite for years. Arms were raised, voices were loud, and the atmosphere felt almost ceremonial — a perfect closing to a set that blended brutality, beauty, and full theatrical immersion.
All Time Low brought pure pop-punk sunshine to the Vans Left Foot Stage, delivering one of the most effortlessly feel-good sets of the entire weekend. With a career that helped define Warped Tour’s mid-2000s era, their Orlando performance felt like coming home — loud, warm, chaotic, and full of the kind of sing-along moments that remind you exactly why ATL remains one of the scene’s most beloved bands.
They kicked the set into gear with “SUCKERPUNCH” before sliding straight into the fan-favorite anthem “Weightless.” Within seconds, the crowd was bouncing in unison, shouting every lyric like their lives depended on it. That energy never dipped. “Poppin’ Champagne,” “Damned If I Do Ya,” and “Time-Bomb” hit with the kind of nostalgic punch that transported longtime fans straight back to their early Warped days.
Alex Gaskarth’s vocals were steady and bright throughout, and Jack Barakat was pure chaos — sprinting across the stage, leaning into the barricade, and hamming it up to the delight of screaming fans. “Backseat Serenade,” “Something’s Gotta Give,” and “Lost in Stereo” kept the middle of the set buzzing, each track landing like a shot of classic ATL electricity.
One of the biggest surprises came when Eric Vanlerberghe of I Prevail joined the band for their collaborative track “Hate This Song.” The mix of ATL’s pop-punk shimmer and Eric’s heavier edge created a moment that hit harder live than anyone expected, blending two generations of Warped Tour perfectly.
The emotional highlight came with “Sleepwalking” and “The Weather,” both delivered with a richness that showed just how strong the band’s newer material stands beside their classics. But it was the final stretch that absolutely blew the roof off.
“Monsters” had the entire field howling the chorus, while the closing track “Dear Maria, Count Me In” turned the Right Foot Stage into a full-blown pop-punk choir. Streamers blasted over the crowd during the final chorus, creating a picture-perfect finale that felt like Warped Tour tradition wrapped in confetti.
All Time Low delivered a set that felt timeless — equal parts nostalgia, joy, and pure pop-punk energy. If any band understands how to soundtrack a Warped Tour sunset, it’s them, and Orlando sang every word to prove it.
A Day To Remember closed out day two of Warped Tour with a performance that proved why they continue to sit at the center of the modern alternative scene. As hometown heroes from nearby Ocala, the band walked into a crowd already buzzing with anticipation — and within seconds of taking the stage, they justified every bit of that excitement.
The show opened with the explosive “Downfall of Us All,” punctuated by fireworks that mirrored the crowd’s eruption. It immediately set the tone: this was going to be a set driven by nostalgia, technical sharpness, and a level of showmanship that ADTR has honed over years of touring. Jeremy McKinnon’s vocals were crisp from the start, and the entire band sounded tight — no small feat considering the perpetual motion onstage and the sheer size of the crowd they were commanding.
“I’m Made of Wax, Larry, What Are You Made Of?” followed with the kind of pit activity that has become synonymous with ADTR’s legacy. McKinnon encouraged the crowd to open up, and they responded with one of the largest pits of the day. Their ability to control and shape the crowd’s movement was notable — aggressive but never reckless, energetic without losing cohesion.
What stood out throughout the night was the balance between spectacle and substance. “Right Back at It Again” kicked off with confetti, “LeBron” turned the field into a surreal basketball-themed party complete with hoops and beach balls, and “All My Friends” leaned into theatrical visuals. Yet none of this overshadowed the musicianship. Songs like “Paranoia,” “Mr. Highway’s Thinking About the End,” and “2nd Sucks” showcased the band’s precision: tight drumming, clean transitions, and guitars that carried both weight and clarity.
There were quieter emotional highs as well. “Have Faith in Me” created a collective swell of voices, and “If It Means a Lot to You” marked the most heartfelt moment of the night, with the crowd singing louder than the band. These softer moments demonstrated the band’s versatility — the ability to pivot from breakdowns to ballads without losing momentum.
The final stretch — “All I Want” into “All Signs Point to Lauderdale” — wrapped the performance in classic ADTR fashion: massive sing-alongs, a final burst of streamers, and a fireworks display that felt like a victory lap. It was a fitting end to a set that blended nostalgia, technical strength, and crowd-first performance.
Ultimately, A Day To Remember’s show was a reminder of why they have endured. They understand the spectacle fans crave but never lose sight of the fundamentals that make a great live performance. In a festival built on energy, chaos, and connection, they delivered all three — and delivered them at a level few bands can match.
The entire weekend of Vans Warped Tour – and really the full 30-year celebration — felt like a love letter to the scene that raised so many of us. It was a throwback to the old days, a reminder that the bands we watched tear up the Left Foot and Right Foot stages were once grinding it out on tiny festival platforms themselves. This year’s lineups showed the lifecycle of the scene in real time: legacy acts proving they still have it, and newer artists getting the same chance to build their futures. At Warped Tour, every small stage is a stepping stone to something bigger.
And for everyone already sinking into the post-festival depression that comes with packing away the Vans and peeling off the wristbands — fear not. Tickets for all three Warped Tour dates are already on sale for next year. Washington, D.C., Long Beach, and Orlando will return once again, giving fans another round of chaos, community, and sweaty catharsis. Warped knows how tight money can be coming off the holidays, so payment plans are only ten dollars down for both General Admission and VIP — and trust us, the VIP perks are legit. You can’t beat private bathrooms at a festival.
Warped Tour has made it their mission to keep this experience affordable, accessible, and grounded in the same values that defined the tour for decades. Staff, crew, and bands are all committed to keeping prices manageable while still delivering a full-throttle experience that feels both nostalgic and new at the same time.
So nurse your aching bones from the moshing, ice those crowd-surfing bruises, and start planning next year’s outfits. And to the elder emo and pop-punk fans — maybe invest in some insoles for your Vans and don’t forget a hat.
We’ll see you next June in D.C., ready to scream, jump, cry, laugh, and do it all over again with you.
Be sure to check out our coverage of Warped Tour in Florida day one, as well as in Washington, DC, day one and day two.
