Sleeping With Sirens – An Ending In Itself Tour

Fans do not simply listen to Sleeping With Sirens. These songs live in their bones.

They have always approached songwriting more like a confession than a performance. “People come to our shows with real things going on in their lives. We’ve always been honest about our own issues, too,” Kellin says. That intimacy has allowed Sleeping With Sirens to grow alongside their audience.

At a time when many observers assumed the wave of 2010s post-hardcore and alternative bands had already crested, Sleeping With Sirens is more relevant than ever. Fresh generations have discovered them through streaming, social media, and the burgeoning vinyl resurgence. Anthems that once defined the Warped Tour for many summers suddenly appeared in millions of new feeds and playlists.

At the same time, longtime fans remained fiercely loyal. Consistent touring has revealed an audience that has grown, rather than faded. Packed rooms contained teens discovering the band alongside listeners who had spent more than a decade with their music.

For Quinn, that longevity brings both gratitude and responsibility. “We’re very lucky to still be here,” he says. “There are a lot of bands that could have fallen off—maybe ours at certain points. But we keep doing this because we want to make important music and continually level up. We believe that we always have more to give with each new album.”

An Ending in Itself unfolds as a meditation on hardship, resilience, and the search for meaning in uncertain times. Over the past several years, Quinn and his family navigated serious health challenges and deeply personal struggles, experiences that inevitably found their way into the songs.

“A lot of what this record is about is not giving up hope and finding faith in the middle of hardships.”

Those ideas anchor the album’s thematic center, starting with the title track, which opens the album. “Everyone tries to post their best life online, but the truth is, a lot of people are struggling. The idea behind the song is just saying it’s okay to admit you’re hurting.”

Elsewhere, the record explores different shades of that vulnerability.

“God in My Head” wrestles with questions of faith, searching for comfort in the belief that someone—or something—may be listening when life feels overwhelming. “Forever Always” draws from Quinn’s ongoing creative relationship with Matt Good of From First To Last, blending classic post-hardcore textures with the band’s melodic instincts. “House of Matches,” written with Point North’s Jon Lundin, expands the band’s sonic palette while remaining unmistakably Sleeping With Sirens.

Even the album’s fastest moments serve a purpose. “PTSD,” a brief burst of punk urgency, channels the chaotic energy of modern life into a two-minute jolt of adrenaline. The album closes with “Storm Clouds,” a reflective finale that mirrors the record’s opening while quietly suggesting endurance.

From beginning to end, An Ending in Itself reflects a band thinking deliberately about how albums function, not just as collections of songs, but as sonic journeys through overlapping ideas and feelings. Quinn lights up when discussing that bigger picture. He speaks about sequencing, artwork, and visual storytelling with the enthusiasm of someone who sees music as more than sound alone. “My favorite part of making a record is creating something out of nothing,” he says. “But my next favorite part is putting the whole vision together, imagining the artwork, the videos, the world around the songs.”

The world around them may have shifted. But the impulse that built Sleeping With Sirens remains the same. The five of them remain committed to collaboration and community. “I like being with people who are like-minded and contributing to each other,” Kellin says. “There’s magic in that.”

That magic has carried Sleeping With Sirens through more than a decade of shifting musical trends and a business that can be brutal and unforgiving. The band endures for the same reason it began.

Because this music matters.