Ryan Murray | Co-Owner | Chief Editor | Contributor | Photographer
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The heavy metal scene has no shortage of powerhouse lineups, but the one that tore through New Haven on November 17th was something special. The evening featured a blend of high-octane hardcore, thrash-infused metal, and brutal deathcore that built upon each act’s energy, leaving the audience a sweaty, exhausted mess by the end of the night. From the moment the first note was struck, the crowd knew they were in for something exceptional. The bands fed off one another’s energy, creating a show where no one felt like an opening act and every performance left you wanting more.
The evening began with Judiciary, and right off the bat, it was clear that this Texas hardcore outfit wasn’t here just to warm up the crowd—they were here to leave a mark. They opened with “Blood,” immediately setting a tone of aggression, and the packed room responded with intensity. The energy that flooded the venue could be felt in every corner of Toad’s Place, as fans moshed and thrashed from the very first note. The brutality of their sound was balanced by an undeniable tightness in their performance. Vocalist Jake Collinson led the charge with a commanding presence, his voice snarling through the speakers as he controlled the pace with surgical precision.
Their performance felt like a live masterclass, showing how to blend chaos with musicality. Tracks like “Engulfed” and “Temple” were blistering with pace, but Judiciary’s ability to slow down for moments of tension, only to unleash a barrage of sound, kept the audience on edge. The band’s tight rhythm section was essential in keeping the momentum moving, each breakdown hitting with the force of a sledgehammer. It was the sort of performance that makes a lasting impression—a band that commands respect by simply doing what they do best, and doing it with such unrelenting energy.
The connection with the crowd was another highlight. Between songs, Collinson paused to acknowledge the fans, thanking them for showing up early. That personal touch gave the whole performance a sense of camaraderie, like a shared experience between the band and the crowd. The overwhelming response from the audience confirmed it: Judiciary wasn’t just here to play—they were here to take over. The set was a pure blast of aggression and unity, and by the time they finished, the stage had been set for what would prove to be an unforgettable night of metal.
SETLIST
Blood
Pure Fury
Paradigm Piercer
Social Crusade
Temple
The Axis of Equality
Next up, Sylosis brought their electrifying blend of thrash and modern metal to the stage. The UK-based band lit up the venue with their technical brilliance and immense stage presence. Frontman Josh Middleton, who has earned a reputation for his commanding voice and jaw-dropping guitar solos, demonstrated why he’s one of the best in the business. The crowd was drawn in by his fluid yet ferocious playing, which meshed perfectly with the rest of the band. Conor Marshall’s windmilling guitar moves and Ali Richardson’s dynamic drumming brought even more visual spectacle to the performance, making Sylosis one of the most visually exciting acts of the night.
But it wasn’t all about the showmanship; the technical proficiency of Sylosis was nothing short of mind-blowing. Songs like “Deadwood” and “Calcified” turned Toad’s Place into a whirlwind of movement, with fans throwing themselves into the pit as Middleton’s riffs cut through the air like a hot knife through butter. The band effortlessly transitioned between blistering thrash and melodic, atmospheric moments, showing off a depth that many metal bands strive for but few achieve. When the band called for “The Walls of Death,” the crowd responded in kind, diving headfirst into the chaos, further proving the bond between Sylosis and their dedicated fans.
It wasn’t just the music that made Sylosis stand out—it was the sense of story they wove into their performance. Middleton reflected on the band’s tumultuous past, sharing the harrowing tale of their previous tour being cut short by a bus crash. The crowd hung on every word, and the raw honesty of that moment added a personal depth to the performance. When they finished with their spine-shaking set, Sylosis had proven themselves not just as virtuosos but as true survivors, making a triumphant return to the stage after years of setbacks. The energy in the room was electric, and as they exited, the fans couldn’t wait for more.
SETLIST
Poison for the Lost
The Path
Pariahs
Empty Prophets
Worship Decay
Deadwood
Distant, the Dutch deathcore outfit, took the stage next, bringing an atmosphere so heavy it was almost tangible. From the moment they began with “Loveless Suffering,” their signature blend of brutal breakdowns and haunting melodies had the crowd captivated. Vocalist Alan Grnja’s guttural growls reverberated throughout the room, his presence on stage both commanding and intimidating. Every track was a wall of sound that felt almost suffocating in its intensity, but Distant knew how to build their set to maintain that unrelenting tension. The atmosphere they created wasn’t just brutal; it was immersive, wrapping the audience in their dystopian soundscapes.
Tracks like “Fleshweaver” and “Born of Blood” were punishing, combining rapid-fire blasts of deathcore with darker, more atmospheric moments that kept the crowd on edge. The band’s precision in timing and their ability to craft emotionally charged breakdowns added layers to the performance, ensuring that it wasn’t just about aggression—it was about feeling. The synergy between the band members, especially guitarists Vladimir Golic and Nouri Yetgin, was evident throughout the set, as they locked into one another’s playing, their riffs intertwining to create a massive wall of sound.
The crowd responded with unrelenting energy, and the lighting amplified the atmosphere, with flashing reds and icy blues enhancing the sense of dread that Distant’s music instilled. Between songs, Grnja spoke to the crowd, building a rapport that felt genuine. It wasn’t just about the music for Distant—it was about connecting with the people who came to see them. When they finished their set with the brutal “Exofilth,” the crowd was left with a sense of awe, having been pushed to the limits of their physical and emotional endurance.
SETLIST
Loveless Suffering
Oedipism
Fleshweaver
Exofilth
Born of Blood
Hellmøuth
Heirs of Torment
Bodysnatcher brought the night into full swing, bringing the raw, visceral power of hardcore deathcore to the forefront. Starting their set with “King of the Rats,” the Florida-based band set the tone with immediate intensity. Vocalist Kyle Medina’s commanding presence was magnetic, his guttural screams matching the ferocity of the band’s sound. From the first moment, the crowd was in full motion, moshing, and becoming completely immersed in the chaos that Bodysnatcher delivered. There was no subtlety here—just pure, unfiltered aggression.
Bodysnatcher is one of those rare bands that brings something uniquely intense to the table. Their riffs are dense and punishing, and Medina’s gutturals slice through the soundscape like a chainsaw. The crowd was relentlessly engaged, every song fueling more violent energy. “Vile Conduct” and “Take Me to Hell” had the crowd chanting along, their voices reverberating back to the stage. The tight rhythm section locked in with Medina’s vocals, creating a storm of heavy grooves and chaotic breakdowns.
But what truly elevated Bodysnatcher’s set was their unwavering commitment to making every fan feel like part of the experience. Between songs, Medina’s interactions with the crowd felt real—thankful for their support, hyping up the audience for what was coming next. The dynamic between Bodysnatcher and their fans was tangible, and the result was a performance that felt more like a celebration than a concert. When they closed with “Murder8,” there was no doubt that Bodysnatcher had left their mark on Toad’s Place, their ferocity searing itself into the minds of the crowd.
SETLIST
King of the Rats
Dead Rabbit
Infested
Behind the Crowd
Severed
Human Disdain
Take Me To Hell
Black of My Eyes
Twelve/Seventeen
Murder8
The grand finale of the night belonged to Fit For An Autopsy, and they absolutely destroyed the stage at Toad’s Place. From the first notes of “Lower Purpose,” the energy was untamed, almost as if they had been waiting months to unleash all that pent-up aggression on this final tour stop. The room instantly became a furnace of intensity, with the crowd headbanging in perfect sync, every thrash of the guitar and blast of the drums vibrating through the walls.
Vocalist Joe Bad, in particular, was a force of nature. He has a rare charisma on stage that not only commands attention but demands participation. There’s an authenticity in his performance—each scream, growl, and melodic line feels like it’s coming from the deepest part of him. It wasn’t just about hitting the notes; it was about taking the audience along on a journey through every heavy riff and emotional moment. The way he engaged with the fans, talking directly to the crowd between songs, made this feel like a personal experience. He had the crowd hanging on every word, and when the band dove into “A Higher Level of Hate” or “Warfare,” it was clear that the energy wasn’t just built from the music but from the chemistry between the band and the audience. It was a raw connection—something that makes Fit For An Autopsy not just another deathcore band, but one that has honed the art of stage performance.
As for the rest of the band, their technical prowess was mind-blowing. Guitarists Patrick Sheridan and Tim Howley tore through solos and intricate riffs, each note filled with purpose. They struck the perfect balance of heaviness and precision, never losing the depth of their sound despite how chaotic and thunderous things got. Drummer Josean Orta’s relentless pounding on the kit was equally as impressive, with his ability to switch between explosive blast beats and nuanced rhythms keeping things dynamic. Every member of the band played a crucial part in this chaotic symphony, blending brutality with technical mastery.
Their setlist for this final show was a masterstroke, delivering fan-favorites from across their discography. It wasn’t just a showcase of their heaviest moments, though; there were clear emotional peaks and valleys within their set. The inclusion of tracks like “Red Horizon” and “Savior of None Ashes of All” were a reminder of just how diverse their sound has become over the years—melding melodic, atmospheric moments with the crushing weight of deathcore. But it wasn’t all calculated precision. There was an urgency to their performance, a sense that they were pouring every last ounce of energy into this final show, and the crowd felt that.
The venue, though not as large as some others on the tour, was packed and buzzing with anticipation, and this intimate setting only amplified the intensity of the band’s performance. The lighting was carefully designed to match the tone of the music—dark, brooding, and aggressive when the band was in full swing, but softening during more introspective moments. It wasn’t just a performance; it was an experience. As the final song, “Two Towers,” wrapped up, there was a collective sense of satisfaction in the crowd. Fit For An Autopsy had left everything on that stage, and we were all better for having witnessed it.
What’s remarkable about Fit For An Autopsy’s performance is not just their technical skill, but their ability to make such a massive, aggressive sound feel so personal. By the time they left the stage, they had cemented themselves as one of the most consistent and engaging acts in modern deathcore, with a reputation for delivering visceral live performances. This last show of the tour felt like a definitive statement: Fit For An Autopsy is here to stay, and they’re only getting better and better with time.
SETLIST
Lower Purpose
A Higher Level of Hate
Red Horizon
Black Mammoth
The Sea of Tragic Beasts
Savior of None / Ashes of All
Warfare
Pandora
Hellions
Far From Heaven
Hostage
Two Towers
Ethereal Metal 
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