On Sunday, October 18, 2026, Sleeping With Sirens closed out a weekend of momentum with a sold-out show at The Pageant in St. Louis as part of their An Ending In Itself Tour. Supporting the band’s eighth studio album—released in June via Rise Records and produced by Will Yip—the performance balanced the heavier, more cathartic edge of the new material with the melodic post-hardcore anthems that first defined the group.
Openers Shyeye and Rain City Drive set a strong foundation. Shyeye took the stage at 7 p.m., followed by Rain City Drive around 7:45 p.m., both warming a packed, all-ages crowd ahead of the headliner’s 8:50 p.m. start. The room was already primed by the time Kellin Quinn and company appeared.
The set opened with the propulsive “Kick Me” and “Leave It All Behind” before moving into newer territory with the title track “An Ending in Itself” and the sweeping “Forever/Always.” The band leaned heavily on Let’s Cheers to This favorites such as “A Trophy Father’s Trophy Son,” “Scene Two: Roger Rabbit,” and “Who Are You Now,” while weaving in deeper cuts like “The Bomb Dot Com V2.0,” “Better Off Dead,” “Go Go Go,” “Bloody Knuckles,” and “Do It Now Remember It Later.” “House of Matches” from the new album also landed well. During “The Bomb Dot Com V2.0,” the band briefly stopped to address a fight in the pit before restarting the song, a moment that underscored their ongoing emphasis on keeping the room safe without derailing the night’s momentum.
Quinn’s distinctive high register cut clearly through the mix, and the band’s chemistry—now featuring guitarist Tony Pizzuti—felt tight and confident. The roughly 85-minute main set closed around 10:15 p.m., with an encore of the enduring “If I’m James Dean, You’re Audrey Hepburn” and “If You Can’t Hang” sending the crowd out on familiar, high-energy notes. Across the night, the material from An Ending in Itself functioned as both a continuation of the band’s emotional arc and a reminder of why the connection with their audience has endured.
For a venue the size of The Pageant, the show struck an effective balance: intimate enough for Quinn’s between-song moments and large enough for the collective sing-alongs that have long been a hallmark of Sleeping With Sirens performances. It was a solid, well-paced stop on a tour that continues to draw longtime fans and newer listeners alike.
