Woe, Is Me Make A Boomin’ Comeback With ‘Daybreak’

Atlanta metalcore legends Woe, Is Me have returned with their third studio album, ‘Daybreak’. This marks their first album in almost 13 years, since 2012’s ‘Genesi[s]’. The band had been through many lineup variations, but I feel they’ve found their most consistent one yet. They dive into more modern metalcore, throw a little country moments in there, and even a dash of synth where it needs to be. It’s short and sweet across 11 tracks, especially for the kind of music they present on this record. 

We start with “The Opener”, which is an interlude track that ties in with the closing track of the record. We really start full force with the first single of the record, with “Here’s to Me (A Story to Tell, Pt. 2)”. We really get the sense off this track that the band has fit in to the more modern climate of metalcore in 2025. I do enjoy how the melodic moments here feel country inspired, and it’s not the last we’ll get of that on here. The breakdown is a pretty solid one to start off with, and the second part of the bridge going into the final chorus is pretty masterful. The lead guitar here by Andrew Paiano deserves a shoutout too, the first of many.

We follow up with another well-balanced track, in “Seminola Blvd”. You really can feel the head nod with the riffs on a track like this. And the country vibes feel even more elevated during the melodic moments here, especially during abandcalledlove’s feature (which fits very nicely here by the way). Vocalist Hance Alligood’s vocals feel so fitting on a song like this, it fits the vibe incredibly well. And once again, I applaud the instrumentals for also fitting and matching that vibe too.

We jump to a more reminiscent song from a bygone era of mid-2010’s metalcore with “Borrowed Time”. It has a good mix of heavy and melodies once again, with an awesome chorus that is bound to be on repeat. I also love the electronic-inspired second verse, with Hance carrying on the vocals throughout. It makes for one of the better songs on the record through my few listens. 

We pump up the heaviness of the record, starting with “Hell House”. This one feels more on the bouncy side of metalcore, and it’s pretty fun. Vocalist Michael Bohn goes for more different vocals here than what we’re used to from him, and it works pretty well. It once again gives more familiar metalcore vibes from 2014. The kind of feeling where you hear a song like this, and it’s just mosh central. The breakdown near the end, as well as the buildup, is pretty sick as well.

We continue on with the heavy vibes with “FU2Then”. The riffs at the start really give off such Emmure energy, in the best ways. Michael once again delivers his vocals with pure ease and ferocity. It’s more fun, like the last track, and it’s nice to have in the middle of the record. They also know how to make their breakdowns hit like crack, and this one’s no exception. The synth in the middle of the song is a pretty nice touch to include as well.

We jump to a more melodic type of track, with “Bedtime Stories”. Michael singing at the start of this is a pretty nice surprise, and it really takes me back to his days in Issues. Hance also sounds great to match his vocals and elevate upon them, and he thrives in a song like this. I really do appreciate a track like this also in the middle of the record, but especially after the two heaviest tracks.

We then jump to the second single from the record, with “Devil In My Mind”. This one’s easily one of the more catchier songs on the album. The chorus feels like such a singalong, and I love how heavy and melodic the instrumentals during the verse feel. The country vibes feel very present here, especially in the lyrics. This easily could’ve come off as cheesy, but the band really make it their own and pull it off quite well here. 

We jump to another one of the singles in another heavy one, with “Odd Behavior”. I gotta say, Michael’s vocals here are a total standout and is a true testament to show he’s still got it. I also appreciate the singing here being very solid, but taking a backseat since heavy is once again the focus here. And the crossover we finally get with the guitarist of Bad Wolves’ and formerly of Issues, AJ Rebollo. His feature absolutely smacks and it’s such a nice surprise to have on this record, his gutturals near the end are brutal too. It’s an easy highlight off this whole record, and it’s bound to be a fan favorite too.

We reach the penultimate track and another well-balanced track, in “Sick Joke”. The drums by drummer Matthew Whyde are a total standout here, and it’s pretty impressive. The synth and electronic elements are well placed here once again, and I appreciate them still including their roots in small doses. Michael’s pitched screaming on this track is also pretty impressive. The breakdown hits hard once again, especially when it slows down.

We reach the final track of the record with a very fitting title, in “The Closer”. This one feels so anthemic in its lyrics and melodies. The chorus is absolutely wonderful, easily one of the best of the album. It’s got such a sunset type of vibe as you experience it, and it’s so fitting as a closing song. The guitar by Paiano shines once again, as it fits the vibe so well. And one more breakdown to include before departing, the song just feels like it encapsulates the record pretty well as a whole. And the sax at the end is such a nice touch, as we get Hance singing his heart out as the album ends. 

So all in all, ‘Daybreak’ feels like a pretty solid and fitting return for Woe, Is Me after a long awaited return. It plays on what’s made them special in the past, while incorporating new elements that make them stand out in 2025.