After a 13-year absence, the American band Miss May I returned to São Paulo for an unforgettable show at CityLights Music Hall . The night featured a frenzied crowd that packed the venue with deafening screams and a seemingly insatiable hunger for metalcore.
Formed in 2007 in Troy, Ohio, the band consists of vocalist Levi Benton , bassist and backing vocalist Ryan Neff , guitarist Elish Mullins , and drummer Jerod Boyd . This cohesive lineup, which has evolved over the years, has once again proven why Miss May I is a pillar of the genre. The band blends heavy breakdowns with catchy melodies.
The event was a true reunion, with fans who had waited more than a decade to relive the intensity live. And the result was a night that exceeded all expectations. The night also featured the Brazilian bands Into The Void and John Wayne .
An opening worthy of Into The Void
The opening act was Into The Void, who focused their performance on their debut album, Existence is Nightmare (2022). Tracks like “Burn”, “Slaves”, and “Greed” showcased the band's brutality. The highlight was “Desolation”, a powerful collaboration with André Barrial from Fim da Aurora , who added vocal and emotional layers. The performance elevated the song to an anthem of resilience. Closing with “Orphans of Hope”, they proved to be a promising name within the genre.
Next came John Wayne, bringing the best of metalcore. The onslaught began with "Aliança," followed by "Midas" and "Abel." Collaborations were present in "Tempestade" with Daniel Martins from Into the Void, "Aliança, Pt. II" with Milton Aguiar from Bayside Kings . "Lágrimas" with André Barrial from Fim da Aurora closed the set with great aggression. Overall, the setlist demonstrated the band's cohesion, creating an authentic connection in a short but solid performance.
Miss May I on stage
The low stage at CityLights Music Hall , which could have been an obstacle to the view for those further away, ended up being just an irrelevant detail in the face of the overwhelming energy that took over the venue from the very first chord. With “Hey Mister” opening the setlist, Levi Benton exploded into the microphone like an erupting volcano. Meanwhile, the weight of the guitars cut through the air with aggressive riffs that immediately incited the fans to action. Despite the stage's limited height hindering visibility for those at the back, the fervent fans wasted no time: mosh pits formed within the first few seconds, transforming the floor into a whirlwind of colliding bodies. Neff's bass and Boyd's drums served as the perfect foundation for this initial explosion.
As the show progressed to “Unconquered” and “Into Oblivion,” the connection between the band and the audience intensified, creating a chaotic atmosphere that seemed to defy the laws of physics. These songs, with their relentless breakdowns and catchy choruses, made CityLights tremble beneath the feet of the headbangers. The fans weren't content to just watch. They jumped, headbanged, and sang along at the top of their lungs, transforming the space into a cauldron of sweat and adrenaline. Levi Benton's performance, always charismatic and intense, raised the bar. It became clear why he is considered one of the most dynamic frontmen in metalcore, even with the low stage forcing him to move more intensely to maintain eye contact.
Sound immersion
At the heart of the setlist, songs like “A Dance with Aera Cura,” “Architect,” and “Deathless” highlighted the band's maturity, blending melodic elements with the brutality that defines Miss May I. “Architect,” in particular, shone like an anthem, echoing like a symphony of chaos, while the audience responded with an even fiercer mosh pit. This part of the show was a true test of endurance, where the smooth transitions between tracks kept the flow uninterrupted. Jerod Boyd's drumming dictated the rhythm like a precise clock. The sonic immersion was total, with fans losing themselves in layers of sound that evoked themes of overcoming and struggle, recurring themes in the band's discography.
With the performances of “IHE”, “Under Fire”, and “Bleed Together”, the intensity reached its peak, transforming CityLights into an arena where fans clashed in the mosh pits. These heavier tracks, with their bone-crushing riffs, fueled a non-stop mosh pit, culminating in a climax during “Masses of a Dying Breed”. Ryan Neff, with his pulsating bass, added an extra layer of groove that made the ground vibrate, while Levi interacted directly with the audience, encouraging mosh pits that seemed to defy gravity. The emotional connection was incredible, proving that metalcore goes beyond the visuals—it's about the visceral vibe and the bond between band and fans.
Miss May I swept through São Paulo like a hurricane
Closing with “Relentless Chaos,” “Forgive and Forget,” and “Shadows Inside,” the Americans left no stone unturned. In less than an hour, Miss May I swept through São Paulo like a devastating hurricane that showed no mercy to anyone who dared stand in its way. With their spirits cleansed, the fans proved that the spirit of metalcore is indomitable, and the band reciprocated with an impeccable performance that reaffirmed their legendary status. After 13 years, the return was more than deserved, leaving a legacy of sweat, insane mosh pits, and memories that will echo for a long time. If you missed it, catch the next one—Miss May I never disappoints.
Check out the exclusive photos by our photographer Marcela Lorenzetti :
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