Brokencyde dragged the whole room back to the Myspace era
Icon Lounge in Sioux Falls, South Dakota on June 18, 2026
The bill brought together Enlightened Ones, Sinking Under, From this day forward, Filth and Brokencyde for a night that moved between metalcore, punk, deathcore, hip-hop bass, crunk-screamo absurdity and the strange emotional power of seeing a room full of adults suddenly look twelve years younger.
The first act of the night, Enlightened Ones, was unfortunately missed because the set reportedly started a half hour earlier than expected. When a lineup is stacked this tightly, consistency matters. It is how people get to actually witness the bands they came to see. Enlightened Ones still deserve the nod here, even if the room’s clock swallowed the chance to properly take them in. Their official pages are gathered through their Enlightened Ones link hub, and hopefully the next time they come through, the timing lets the music land with us.
The fuse gets lit
By the time Sinking Under hit, the night had already shifted into something harder and sweatier. Their cover of “Break Stuff” by Limp Bizkit came with the perfect timing for a night like this.
The local or regional heavy scene often lives in that space between tribute and transformation. A band can pull from the familiar while still making the room listen to what they are doing in real time. Sinking Under had that kind of presence.
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Scene kids, bass drops and old ghosts
Then From this day forward came in with a sound that felt almost genetically engineered to wake up a very specific part of the brain. Classic metal bones, hip-hop crunk influence, autotune, screamo, high-intensity pop parts and full-throat screams throughout the set.
There is something almost surreal about seeing that style return in the flesh. The emo hair was there. The kind where nobody’s face is fully visible, just a curtain of face armor. The studded belts were there. The Hello Kitty flashes were there. Nostalgic for everyone who survived their teenage years through lime-green band tees and eyeliner.
From this day forward understood the emotional mechanics of the genre. The set moved in waves, jumping from bright, almost pop-leaning intensity into autotuned melodic sections before slamming straight down into screams. Underneath it all sat that deep hip-hop bass that has always been part of this genre’s bloodstream, a low-end throb and gnashing guitar that gives the songs their teeth.
There was also that strange live-music illusion where the artist seems to be speaking directly to the audience, but it feels like its directed right to you.
Filth and the gutter carnival
If From this day forward pulled the crowd backward into scene-era memory, Filth dragged the night straight into a hard hitting grin.
The Shelby, North Carolina band wasted no time. They jumped in with a bang, built on those duga-duga riffs that make the body react before the brain starts sorting out what is happening. The lead vocalist worked the crowd with the confidence of someone who knows that absurdity and violence can share the same stage without cancelling each other out. At one point, he told the crowd to raise their arms. Then he told them to tickle the person next to them.
That is Filth in miniature. Brutal, ridiculous, confrontational and weirdly communal.
The mosh pit became one of the best parts of the set, especially from the edge. People crash, circle, shove and recover. The best pits have a language, even when the music sounds like it wants to tear language apart. Filth fed that instinct beautifully.
“Out of Pocket” hit with a heavy hip-hop bass influence that made the band’s sound feel less like straight deathcore and more like a street fight happening inside a subwoofer.It was not just heavy in the traditional sense. It bounced.
Their cover of “Rollin’” by Limp Bizkit made sense in the same way Sinking Under’s “Break Stuff” did earlier in the night, but Filth brought a different flavor to it. Limp Bizkit covers can go wrong fast when a band treats them like a joke. Filth treated the song like an acme bomb. It brought the crowd into something familiar while still keeping the band’s own fingerprints all over it.
The next song, believed to be an original, carried one of the more intriguing sonic details of the night. There were sounds in the background that came across almost like bat noises, little shrieks or wing-flutters tucked behind the heaviness. It was a small detail but an effective one.
There was also a great conversation with the lead singer after the set, where Shelby, North Carolina came up as Filth’s birthplace, along with the fun fact that Shelby is also the birthplace of an actor from “Scrubs”.
Filth’s live presence matched the reputation around them. Their official pages describe them as a hip-hop-influenced heavy metal band from North Carolina, while venue bios have framed their sound as hip-hop meets deathcore. The set had the violence of deathcore, the bounce of hip-hop.
Merch table time capsule
The merch setup at Icon Lounge looked exactly how this bill sounded: part deathcore bunker, part scene-kid closet raid, part Myspace-era fever dream.
Sinking Under had a some shirts. From this day forward had one of the most visually loud setups of the night, with bright pink-on-black lettering, graffiti-style designs and a Cookie Monster shirt that leaned fully into their weird, playful side of the scene. Their table matched their set well: nostalgic, chaotic and proud of the era that raised it.
Filth’s side of the table went darker and heavier, with black shirts, hoodies, patches and designs that looked built for pit bruises and bad decisions. The Hello Kitty-style shirt tucked among the more brutal designs was its own perfect little genre collision, cute iconography dragged through gutter metal until it came out grinning with blood on its teeth.
Brokencyde’s merch brought the night’s nostalgia into full color. The cartoon-style shirt with the band’s name felt like a direct transmission from the late-2000s scene era. It did not feel like standard tour merch. It felt like a merch table for people who still remember the exact emotional damage caused by our teenage years.
The crunk-screamo time machine
Then came Brokencyde. Brokencyde are not just a band at this point. They are a cultural artifact that somehow refuses to stay sealed behind glass. Their blend of screamo vocals, crunk beats, party-rap cadences and neon chaos became one of the most hated, mocked, defended and remembered sounds of the late-2000s scene era.
They brought everyone further back into a kid state, and that might be the most accurate way to describe what happened. No matter how many years pass, nobody else quite owns that lane with the same reckless authority.
“I Wanna Fight” hit with a heavy dose of teenage-era feeling. It is the kind of song that drags old memories behind it, not polished memories either. More like sticky-floor memories. Warped Tour-adjacent memories. Staying up too late memories.
“Freaky” came through as a huge fan favorite, and the crowd response showed exactly why Brokencyde still works live. The songs are built for reaction. They do not ask to be admired quietly. They want noise back. They want movement, hands, voices and a room willing to collapse the distance between joke and anthem.
Then “Teach Me How to Scream” and “Skeet Skeet” pushed the nostalgia even harder. Those tracks live in the part of the brain where scene hair, crunk beats, internet forums and questionable ringtone choices all share an apartment. Hearing them live now is bizarre in the best way. The songs are ridiculous, but they carry the memory of a time.
The thing about Brokencyde is that people often talk about them as if the only question is whether they were good. That question has always been too small. The better question is why they survived being hated so loudly. Plenty of bands were mocked online. Plenty disappeared. Brokencyde somehow remained lodged in the culture’s teeth.
At this show, all of that history came roaring back, people yelling lyrics and adults letting themselves become the version of themselves that first heard this stuff through blown laptop speakers.
Afterglow
By the end of the night, we were sad that our homies the Enlightened Ones were lost to the clock, Sinking Under started the night for us, From this day forward pulled the old scene-kid wiring back out into the light, Filth turned it up and Brokencyde closed it by making nostalgia feel just loud enough.
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