Even after 20 years, All Time Low still relish their time on stage every night. And as frontman Alex Gaskarth said just a week after starting their latest trek, "there's some kinda magic happening on this tour."

Perhaps it's the fact that the Baltimore-born pop-punk band have new music to perform (their ninth album, Tell Me I'm Alive dropped in March), or that they're sharing the stage with longtime buddies Gym Class Heroes. But whatever it is, The Sound Of Letting Go Tour is a special one for the band and their fans alike.

With a few shows left to go on the North American stretch, All Time Low shared some of their favorite onstage and behind-the-scenes moments from the 25-date trek, which wraps in Portland, Oregon, on Oct. 17. (But they're far from done — they'll play the When We Were Young Festival in Las Vegas, followed by five dates in Australia in November and another five in Brazil in March 2024.)

Below, check out a collection of photos from All Time Low's The Sound Of Letting Go Tour, captioned by Gaskarth himself. 

All photos by Salma Bustos.

Sept. 8 — Maryland State Fair, Baltimore, Maryland: Making lemonade out of lemons — what should've been the first show in our hometown ended up getting canceled due to crazy storms in the area. Luckily we were able to reschedule the show, and [did] a little impromptu acoustic-performance [that] had us feeling right as rain.

Sept. 10 — MGM Music Hall, Boston, Massachusetts: Some sagely advice from the man, the myth, Mr. Travie McCoy [Gym Class Heroes' lead singer]. We've known each other for a long time and go way back to the days that we were still just starting out as a band in high school, opening up for Gym Class Heroes at the Otto Bar in Baltimore. It's great to be back out on the road and sharing the stage with them now.

Sept. 10 — MGM Music Hall, Boston, Massachusetts: This is one of my favorite pics our photographer Salma Bustos captured of me during a piano break in the set. She's always spotting the special moments, but there's something really classic-feeling about this picture.

Sept. 10 — MGM Music Hall, Boston, Massachusetts: Life on the road is all about finding balance between the extreme highs of the stage and the quiet moments. It's not always easy to feel totally normal out here, so the little comforts of watching a football game with all the boys can be super grounding. Here we are cheering on the Ravens backstage in Boston, while the Orioles played the Red Sox literally right next door.

Sept. 12 — The Rooftop at Pier 17, New York, New York: This is Trav straight-up embarrassing me with his piano prowess in New York.

Sept. 12 — The Rooftop at Pier 17, New York, New York: Every day we throw a soundcheck party for a smaller group of fans where they can experience some tunes a bit more up-close and personal, ask us some questions, hang out and be merry. I feel like it's a cool way to interact with our most invested listeners and have some laughs about old songs and what we had for breakfast.

Sept. 14 — Maryland State Fair, Baltimore, MD: This is Jack trying to be as cool as [opener] Lauran Hibberd and her bandmates. Unfortunately it's just not possible to be as cool as they are because they're English (and fortunately I am too).

Sept. 17 — The Fillmore Philadelphia, Philadelphia, Pennsylvania: Who doesn't love confetti at a rock show?! Always makes the crowd go nuts and makes for some amazing photos. This was the opening of our show, setting things off with a bang.

Sept. 17 — The Fillmore Philadelphia, Philadelphia, Pennsylvania: We recently released a new track featuring Avril Lavigne, who obviously isn't out on the road with us but was kind enough to film some rad content to add into our show to make the song really come to life. This picture is the first time we played the song live, I think!

Sept. 19, 2023 — L'Olympia, Montreal, Quebec: We wanted to add an element of theater to our live show and nothing beats a simulated curtain opening to set the stage during what's become one of the rowdiest songs in our set, "Calm Down."

Sept. 22 — The Fillmore, Detroit, Michigan: Lauran's been joining us on stage every night to perform our song "PMA." She had the best outfits and is probably the best dressed on the tour. Here I am during our show probably thinking about what I need to do to step up my wardrobe game.

Sept. 23 — Byline Bank Aragon Ballroom, Chicago, Illinois: A big ol' sold out show at the Aragon Ballroom in Chicago! One of my favorite venues to play and this show in particular was a highlight of the tour. Amazing energy from the crowd and so much nonstop dancing.

Sept. 27 — Coca Cola Roxy, Atlanta, Georgia: This is one of my favorite moments in the set. We bring someone on stage to push a button that randomly selects one of four old ATL songs. Looks like this night we landed on "Vegas" and high-fived it out because we were all happy with that outcome.

Sept. 29 — The Ritz Ybor, Tampa, Florida: Pretty sure this is James, Lauran's drummer, doing his best impersonation of [All Time Low's drummer] Rian [Dawson]'s drumming backstage in Tampa. Gotta get your mean face on.

Oct. 6 — The Van Buren, Phoenix, Arizona: After-show pizza, video games and our good friends in Grayscale kicking it in the green room.

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At first glance, the worlds of rock and dance music might appear diametrically opposed. Dig a little deeper, though, and the two genres share more than just a love for all-black outfits.

In recent years, a wave of dance stars have embraced their inner mosher by collaborating with their favorite metal, post-hardcore, emo, and pop-punk artists, creating a mutant sound with a foot in both spaces. Just this month, Canada's dark bass maestro Rezz released a winkingly titled EP, It's Not A Phase, which channels the punk and metal she loved as a teen. (On release day, she posted an old photo in front of a My Chemical Romance poster, with the caption, "this one's for everyone who had an emo phase.") 

The EP followed Illenium's self-titled album in April — which features several of the Denver producer's rock heroes — while the likes of Marshmello, Kayzo and Excision have also tried their hands at rock/dance collaborations. For DJ-producers who grew up on raw guitars and tear-the-house-down vocals, it's a natural next step. 

Of course, this mixing of worlds is not just a recent phenomenon. For decades, dance artists have remixed, borrowed from, and occasionally collaborated with their rock counterparts. From the punkish ferocity of the Prodigy's 1997 album The Fat of the Land to Justice's Slipknot-sampling "Genesis" ten years later, the examples are endless. 

In the decade since the EDM boom minted a new generation of superstars, crossover collaborations have increasingly positioned the dance artist in the lead. In honor of this phenomenon, we're head-banging our way through eight of the best. 

deadmau5 feat. Gerard Way — "Professional Griefers" (2012)

Back in 2012, as EDM was taking over America, deadmau5 was busy touring an early iteration of his eye-popping 'Cube' show and preparing to release his sixth studio album, > album title goes here <. Ahead of the LP, the producer born Joel Zimmerman released "Professional Griefers," a hard-charging dance-rock stomper featuring My Chemical Romance vocalist Gerard Way.

While fans had already heard an instrumental version of the track in deadmau5's live shows, Way's vampy vocals brought the rock swagger, even as the production remained resolutely electronic. To celebrate the release, the collaborators appeared as gamers piloting a UFC battle between two giant mau5-headed robots in what Zimmerman told SPIN was "one of the highest-budget electronic music videos of all time." And yes, it's as extra as it sounds. 

Steve Aoki feat. Fall Out Boy — "Back To Earth" (2014)

Steve Aoki is one of dance music's most voracious collaborators, teaming up with everyone from will.i.am to Louis Tomlinson to Backstreet Boys. He's also a punk rocker from way back, having jumped between hardcore bands as a singer and guitarist in his pre-fame life.

These passions have intersected throughout Aoki's DJ/producer career in his collaborations with Linkin Park and blink-182, as well as Rifoki, the straight-up hardcore band he formed with Sir Bob Cornelius Rifo of the Bloody Beetroots. 

In 2014, Aoki joined forces with pop-punk favorites Fall Out Boy on "Back To Earth," which featured on his collab-stacked album, Neon Future I. In an interview with Billboard, Aoki explained that the band worked on their live instrumentation in a separate studio before he added the dance elements, and the result was "one of my favorite rock collaborations." 

The Bloody Beetroots feat. Jason Butler — "Crash" (2017)

Like his friend and collaborator Steve Aoki, the Bloody Beetroots' masked leader Sir Bob Cornelius Rifo is a punk at heart. That raucous spirit was present on the breakout Aoki/Beetroots team-up, "Warp 1.9" (2009), then turned up to 11 in their aforementioned hardcore band, Rifoki.

In 2017, after a few years away from the limelight, Sir Rifo delivered the third Bloody Beetroots album, The Great Electronic Swindle, featuring guests like Jane's Addiction frontman Perry Farrell, GRAMMY-nominated singer-songwriter Greta Svabo Bech, and Australian rock band Jet. 

On "Crash," the Italian producer hooked up with post-hardcore singer Jason Butler, of Letlive and Fever 333, to make a heavy, distorted and shouty head-banger that honors both of their styles. In true punk fashion, it's over and out in just over two minutes. 

Kayzo & Underoath — "Wasted Space" (2018)

Few DJ-producers relish the opportunity to slam together dance music and rock quite like Houston-born Kayzo. For his 2019 album, Unleashed, the rising star secured some of his favorite metal, hardcore and pop-punk acts as guests, including Of Mice & Men, Boys of Fall, Blessthefall, and Alex Gaskarth of All Time Low.

One of the album's standouts, "Wasted Space," pairs Kayzo with Underoath, the Florida metalcore outfit who previously collaborated with Rezz on her 2019 release, "Falling." The collaboration is equal parts metal — with dueling vocalists Aaron Gillespie and Spencer Chamberlain at full-tilt — and shuddering bass drops built for an EDM main stage. 

Marshmello feat. A Day To Remember — "Rescue Me" (2019)

Perma-helmeted producer Marshmello has enjoyed a whirlwind decade, with a famously prolific output that includes several dance and pop hits. In 2019, he surprised fans by announcing a team-up with Florida four-piece A Day To Remember, whose metalcore meets pop-punk sound is a far cry from Marshmello's usual vibe.

Their collaboration, "Rescue Me," finds an easy middle ground between crunching rock guitars, frontman Jeremy McKinnon's impassioned vocals, and Marshmello's skittering trap-pop beats. In an interview with Kerrang! Radio, McKinnon recalled his surprise at how quickly Marshmello shared the chorus on socials, adding that he wishes rock artists could be as spontaneous. 

Illenium and All Time Low — "Back To You" (2023)

Hot on the heels of his first GRAMMY nomination in 2022, Denver-based phenom Illenium got back in the studio to make another album straight from the heart. The producer's self-titled fifth LP took inspiration from his teenage years listening to the likes of blink-182 and Linkin Park, while staying true to his own bass-heavy aesthetic.

Thanks to his stadium-filling stature, Illenium assembled a starry lineup of guests, including pop-punk royalty Avril Lavigne and Travis Barker on "Eyes Wide Shut" and metalcore band Motionless in White on "Nothing Ever After." Early fan favorite "Back To You" features the full force of pop-punkers All Time Low going up against Illenium's furious drops — and achieving perfect harmony. 

Excision, Wooli, and The Devil Wears Prada — "Reasons" (2023)

Fellow bass lovers Excision and Wooli are frequently paired, whether they're going back-to-back as DJs or co-producing EPs like 2019's Evolution and 2023's Titans. This time around, the collaborators decided to try something outside their comfort zone, calling up Ohioan metalcore band The Devil Wears Prada to bring their distinctive grit to "Reasons."

In contrast to more pop-leaning entries on this list, "Reasons" is unapologetically heavy from the halfway mark, morphing back-and-forth from metalcore theatrics to hard-hitting wubs. In a statement, The Devil Wears Prada described this team-up as "uncharted territory" for the band, and their gamble paid off. 

Rezz, Tim Henson, and Silverstein — "Dreamstate" (2023)

In a statement accompanying her new EP, It's Not A Phase, Rezz notes that she "grew up listening to bands exclusively, and over time developed an understanding of what it was about those songs that I loved." 

That innate grasp of rock dynamics is on full display throughout Rezz's most vocal-driven release to date, with guest turns from the likes of Alice Glass, Johnny Goth, and Raven Gray. On "Dreamstate," Rezz embraces her inner emo kid with the help of Canadian post-hardcore band Silverstein and metal guitar prodigy Tim Henson, undergirding her guests' contributions with dark, stabbing bass.

"I listened to a bunch of Silverstein growing up, so it felt nostalgic to me," Rezz told Front Row Live Ent., before admitting that it was "the hardest song I've ever mixed." The extra sweat resulted in a one-of-a-kind collaboration, proving once again that dance music and rock are a potent mix — one with plenty of fuel left in the tank.

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Producer Zakk Cervini believes the world is ready to rock again. Despite rock making a minor resurgence in the latter half of 2020, rock bands are not performing live—which Cervini says has been surreal, especially for artists missing out on the best years of their careers. But once local and state governments roll out the vaccines and it's safe to attend concerts again, the genre might resurge in a big way. 

If it does, it's safe to say Cervini will be a big part of it.

These days, artists who traditionally worked in pop music have been turning to rock, like Poppy with her 2020 metal album I Disagree. (That album's track "Bloodmoney" earned her a GRAMMYs nomination for Best Metal Performance.) Rock bands are also making return-to-form records, like All Time Low with 2020's Wake Up, Sunshine. "It's like the itch that the world is getting right now," Cervini, who produced both of those albums, tells GRAMMY.com. "They have the itch to rock again."

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Cervini raves about all of the artists he's worked with. "His voice was just unbelievable," he says of his frequent collaborator Yungblud. (He follows this up with a pretty convincing Yungblud impression.) Cervini has deftly helped artists navigate musical transitions and is skilled at working alongside artists who inhabit the space between genres—and Yungblud is undoubtedly one of them. 

"He's unafraid to push boundaries," Yungblud tells GRAMMY.com of Cervini via a voice note. "He's unafraid to push the genre into a place that it's not been yet, and he's completely fearless."

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Cervini built his rock royalty from the ground up. After working with producers Machine and Will Putney and eventually leaving college, he moved to Los Angeles to work for famed producer John Feldmann, who has produced bands like The Used and Story of the Year. They worked together for five years, including with Blink-182 and 5 Seconds of Summer, before Cervini decided to go solo. 

Since then, he's produced Waterparks' 2019 album Fandom and Yungblud's 2020 album Weird!. He's also mixed tracks on Machine Gun Kelly's chart-topping 2020 album Tickets to My Downfall and the UK metalcore band Architect's 2021 album For Those That Wish to Exist. He's also recently done some mixing for the film composer Danny Elfman.

Throughout his career, Cervini has gotten the chance to work with artists he loves. On a Zoom call, he holds up the acoustic guitar he used to record a cover of the All Time Low's 2007 hit "Dear Maria, Count Me In," which he and his brother once performed and uploaded to Facebook. He brought that same guitar to Palm Springs, where he worked with All Time Low on their most recent record. "Monsters," a single from that album, has spent a total of 18 weeks at number one on Billboard's Alternative Airplay chart and a remix featuring Demi Lovato made it to number 18 on the Top 40 chart.

GRAMMY.com checked in with Cervini to talk about his recent production work and how rock is making a comeback during the back-half of the pandemic.

This interview has been edited and condensed for clarity.

How did you get into producing? Was this something you always wanted to do?
I'm 27 years old now, and I started producing when I was around 14. I grew up playing guitar, and I loved playing guitar. Somehow, from an early age, I wanted to be in a band. I had a hard time finding musicians who were as dedicated as I was and wanted to do what I wanted to do.

One day, I downloaded a free recording program on my parents' computer. I remember the moment I pressed record and recorded a guitar part. The second that I heard that guitar part back, I was like, "This is incredible." That was the moment for me.

I used GarageBand, and I started producing my friends' bands. I found a lot of joy and satisfaction in taking other people's music and turning it into a real thing, helping other people execute their visions.

What did you learn from John Feldmann?
I learned so much from him. One of the overarching things that I learned from him is how important it is to deliver a finished product. Because it's really easy to have ideas for songs and ideas for this and ideas for that. 

But being able to present a written, recorded, produced, mixed, mastered song—sometimes it's hard for people that aren't on the creative end of music, like I am, to understand something until it's completely done and realized. He showed me how important it was to deliver an amazing quality finished product to someone.

I also learned so much from him on the songwriting end of things because that's one of his strongest skill sets, in my opinion. He's an amazing songwriter. Just how to use song structures and classic song structure techniques that are tried and true that just work. 

I also learned from him that—you should not sacrifice the quality of your work for this—but in this business, especially in this day and age, it's super-important to be fast. And I've taken that to heart.

I love being in the studio with artists like [All Time Low vocalist] Alex [Gaskarth] or like Yungblud, who have so many ideas, and they're so all over the place. My job is to rein in their ideas and turn it into something that sounds good quickly.

And you said you grew up listening to metal? What kinds of artists did you grow up listening to?
I grew up listening to a lot of emo and metal music. I love Slipknot; I love Rage Against the Machine. When I was in high school, I loved Motionless in White and all this kind of heavy rock music. I love bands like All Time Low.

I love aggressive music with pop sensibilities, so Korn, Nine Inch Nails. That's my bread and butter. That's the kind of music that I love, and that's my favorite kind of music to make. I also love pop music as well; I grew up listening to a lot of Avril Lavigne. Then, that turned into Katy Perry. 

And now I'm a huge BTS fan. I love great songs, and they can be dressed up however.

How do you pick what projects to work on?
I've dabbled in hip hop, I've dabbled in pop, and I've just found over the years that I love making music that has kind of a rock or alternative edge to it. I just love aggressive music. 

So I tend to kind of always lean towards stuff that has an aggressive edge, with drums, live guitars, and an amazing vocalist. A band that I love that I think I'll make a great match for that will succeed.

I listened to a podcast that [All Time Low drummer] Rian [Dawson] recorded. He said that you don't want to produce your favorite bands' albums. Is that correct?
Isn't that what they always say? Don't meet your heroes, or don't work with your heroes? It's funny, I have worked with a lot of people that I grew up listening to. 

Again, I'm sure I would do it. [Still], there are certain artists I would be happy with never approaching me and with me just listening to their music forever because I just love their music so much, and I wouldn't want to have a weird experience in the studio. 

Writing and making music is like hooking up with someone. If it goes well, that's awesome. But if it doesn't go well, then every time you see that person, it's kind of like, "Oh, hi." I wouldn't want to have that feeling with an artist I loved and was inspired by so much.

And how do you see your role, working alongside an artist's inspiration?
Whenever I work with an artist, I want whatever we do, whatever song we make, or album we make, for the inception of the idea to come from them. I love working with great artists who can write their own songs and come up with their own ideas and concepts. 

So, Yungblud's a perfect example. If he comes in, and he's like, "I have this idea to make a song. This is the concept, and this is kind of what I want it to say," my job is to help him get to the finish line and make him realize that idea and turn it into a finished thing, which is awesome. 

That's the kind of stuff that I love doing most. He has all these ideas, and I just need to filter them and then put them down and turn them into a three-minute song.

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And you also worked on the Waterparks single "Lowkey As Hell," which is influenced, I think, by being in quarantine. I was wondering how that came together. How has quarantine affected your working process?
I'm very conscious of the bad things going on in the world right now. And I've been very lucky to be doing well in this quarantine. And I'm very thankful that I have been doing well because I know it's been like hell on Earth for many people, which is horrible. 

For the first couple of months of quarantine, the studio that I work at was closed for a few months, so I had to figure out how to work in my apartment. I bought a new laptop, and I got a pair of headphones. And I had to figure out how to do what I do in my apartment on a laptop.

That's the best thing that's ever happened to me. I've been doing some of my best work, I think, like that. And now I can kind of do what I do anywhere and know it's going to be the same quality as if I was in a studio.

"Lowkey as Hell," the Waterparks song, was an interesting one. It was me, Awsten [Knight, vocalist], and our friend Andrew Goldstein. That was just one of those songs that was done before I even knew what happened. 

It just came together super-quickly. It was done in a couple of hours over Zoom. That's the only song that I've done over Zoom this whole time, and it's pretty fitting that it talks a lot about what we're all going through right now.

The All Time Low album came out at the start of quarantine, and Yungblud's album came out in December 2020. All this work you've done is coming out at a time where people can't experience it live.
That's something that I miss a lot. Going to shows is my favorite thing ever, and hearing songs that I performed live is one of the best feelings in the world. It's such a strange thing to have these songs come out and not be able to hear them live. 

Usually, you make an album with a band, and they go on tour and have all these experiences, and then come back, and then you do it again. But this time around, I'm like, "Are we going to have to make albums back-to-back in quarantine?" It's really weird. And there's a lot of stuff going on in the world, movements and political stuff.

I think that it's been hard for a lot of people, myself included, and I've seen it in artists, too, to find a lot of inspiration because people aren't on the road, and they're not having as many experiences as they're used to. It's hard to make an album and then just go right into the next one because it's hard not to do the same thing twice. [After all], the inspiration is running low.

You said you've been mixing more during the pandemic. How have you been picking those projects?
I love mixing because I can do it on my schedule. When I'm writing or doing sessions with people, that stuff is awesome, but it takes a lot more energy to do something like that, in my opinion, versus just open up my computer and mix the song. 

If someone hits me up to mix a song, and I hear the song, and I love it, and I think that I'm the right person to do it, then I'm going to do it. People always send me songs, then I hear them, and I'm like, "This song is so sick." I just instantly hear in my head the way that I want that song to sound, and then that makes me want to do it.

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It's been kind of a pretty big two years for rock music in general. Especially this [past] year, with the success of Machine Gun Kelly and even the All Time Low song ["Monsters"], I feel like it's exploded in popularity. And I think there's a lot more crossover with different types of genres. What has it been like being so close to it?
That kind of stuff excites me because that's the kind of music that I love. I grew up listening to rock music, and I love making rock music, so I love the fact that it's seeing a comeback. 

I feel like, for the past 10 or 15 years, music has gone in many different directions. There was dance music, and then there was Skrillex, who is incredible, and then hip hop's been so big. People have explored so many different sides of electronic computer-based music, and I think now people want to hear some more live-influenced music again. That's what it feels like to me. 

Seeing artists like Machine Gun Kelly is the coolest thing ever to me because he made a straight-up rock album, and it's like, one of the biggest albums of [2020]. It's so cool. And that's kind of helping to pave the way for all of us. 

I always love rock music with pop sensibilities. That's just what I've been trying to make for the last [however] many years, and it's cool seeing it finally get into the mainstream.

Yungblud Talks Turning His Tour Postponement Into An Online Rock & Roll Variety Show

Summer 2018 is shaping up to be a bit of a victory lap for '90s alternative, hard rock and skate punk bands and their fans. Already announced are the anticipated return of System Of A Down, a three-day all-punk campout festival hosted by NoFX's Fat Mike, and a unique "tri-headlining" tour featuring Stone Temple Pilots, Bush and Cult making for an increasingly packed summer festival and tour schedule. Now added to mix is a brand new co-headlining tour featuring proto-pop punk hitmakers 311 and the Offspring, joined by special guests Gym Class Heroes.

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The "Never-Ending Summer Tour" will hopscotch through 29 cities across North America for a series of area shows and festival appearances kicking off on July 25 at Mountain View, Calif., Shoreline Amphitheater and run through Sept. 9, where the tour will close out in Wichita, Kan.

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">We&#39;re heading out on the <a href="https://twitter.com/hashtag/NeverEndingSummer?src=hash&amp;ref_src=twsrc%5Etfw">#NeverEndingSummer</a> Tour with <a href="https://twitter.com/311?ref_src=twsrc%5Etfw">@311</a> + <a href="https://twitter.com/GymClassHeroes?ref_src=twsrc%5Etfw">@GymClassHeroes</a>! Get pre-sale tickets + VIP Packages at 10am local time tomorrow, TUE 4/10, using the password ‘AMERICANA’. <a href="https://t.co/WJbeWWctyP">https://t.co/WJbeWWctyP</a> <a href="https://t.co/G6rxnhBSBP">pic.twitter.com/G6rxnhBSBP</a></p>&mdash; Offspring (@offspring) <a href="https://twitter.com/offspring/status/983343988680765440?ref_src=twsrc%5Etfw">April 9, 2018</a></blockquote>

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A special exclusive ticket presale for Citi card holders will run from Tuesday, April 10, at noon local time through Thursday, April 12 at 10 p.m. local time. Tickets for the general public will go on sale on April 13 at 10 a.m. local time via LiveNation.

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June 21, 2018, will mark the first show date of the last summer of Warped Tour, Kevin Lyman’s long-running nationwide package festival that has been helping introduce young rock and pop-punk fans to bands like Paramore, Deftones, Fall Out Boy, Avenged Sevenfold, No Doubt, Green Day, and countless others since 1995.

Topping the billing for Warped’s final curtain call are 3OH!3, All Time Low, Bowling For Soup, and Simple Plan, joined by several mainstay acts from the tour’s early years, including We The Kings and Mayday Parade.

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">THE FINAL VANS WARPED TOUR LINEUP<br><a href="https://t.co/0SrLVv7yyq">https://t.co/0SrLVv7yyq</a>  <br>collector ticket on sale now<br>️regular tickets on sale March 8th<br>️additional special guests TBA<a href="https://twitter.com/hashtag/vanswarpedtour?src=hash&amp;ref_src=twsrc%5Etfw">#vanswarpedtour</a> <a href="https://twitter.com/hashtag/warpedtour?src=hash&amp;ref_src=twsrc%5Etfw">#warpedtour</a> <a href="https://twitter.com/hashtag/foreverwarped?src=hash&amp;ref_src=twsrc%5Etfw">#foreverwarped</a> <a href="https://t.co/QDr1vcIjde">pic.twitter.com/QDr1vcIjde</a></p>&mdash; Vans Warped Tour (@VansWarpedTour) <a href="https://twitter.com/VansWarpedTour/status/969350336891715584?ref_src=twsrc%5Etfw">March 1, 2018</a></blockquote>

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While Warped Tour is closing the curtain in its 24th year, festival founder Kevin Lyman did confirm in the announcement of the festival’s retirement that there was a special event of some form in the works in development to mark Warped’s “historic 25th anniversary” set for an unspecified date in 2019.

Tickets for the swan song summer of Warped Tour will officially go on sale on March 8. Full lineup details, show dates and venues can all be found on the festival’s official site.

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