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Sleep Theory is back! One of heavy rock's fastest-rising bands is bringing their explosive sound and massive hooks to Springfield, Missouri. From anthemic bangers to gut-punch ballads, this is where hard rock meets heart. Hard rock grit. Metalcore edge. Pop-worthy hooks. R&B soul. Sleep Theory blurs the lines and breaks the mold delivering high-octane shows that hit just as hard emotionally as they do sonically. Whether you’re moshing to Afterglow or singing your heart out to Paper Hearts, this is a concert that doesn’t let up.

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Sleep Theory delivers the dynamic, heavy bounce and massive vocal hooks that the rock world desperately needs. Cullen Moore is a powerhouse singer who outmatches nearly all his peers, recalling the most classic and timeless pop, R&B, and rock n’ roll vocalists of the last several decades.

“The goal is to write songs that, if you were to strip everything away, would still work as full-on, classic pop tracks that are super memorable yet deeply resonate with people,” Moore explains.

On January 12, 2023, Cullen posted Sleep Theory’s “Another Way” on TikTok. On January 12, 2024, the band started a national tour with platinum rockers Beartooth. Over the next eleven months, Sleep Theory became the fifth most-played artist on Active Rock radio, with three songs on the year-end rock and metal charts on YouTube and Amazon Music and tastemaker Spotify playlists.

Jelly Roll and David Draiman of Disturbed sing the band’s praises. Shinedown, Nothing More, Wage War, Set It Off, and Daughtry took them on the road in the U.S., Falling In Reverse brought them to Europe, and nearly every major international hard rock and radio festival invited them to perform.

“It [went] from posting a TikTok from my apartment [to] on a stage with Beartooth a year later,” marveled Moore in an interview with Loudwire Nights. “It’s absolutely insane and humbling.”

In a shockingly short time, Sleep Theory (composed of Moore, Paolo Vergara, Daniel, and Benjamin Pruitt) has amassed over 220 million global streams of its Paper Hearts EP and the subsequent singles from its forthcoming full-length debut, Afterglow, due on May 16, 2025, on Epitaph Records.

Amazon Music, Loudwire, and Revolver named them an Artist To Watch in 2025. Their story is one of combustible creativity and unstoppable energy, which has led to a monolithic debut album.

On Afterglow, “Stuck in My Head” unapologetically leans into its R&B hooks with stunning results.

“Paralyzed” modernizes the best of classic nu-metal with power and confessional vulnerability. “III” is quite possibly the heaviest song Sleep Theory has done. “Static” is unbridled revelry. Meanwhile, “Parasite” is a masterclass in straightforward rock. Elsewhere, tracks like “Gravity,” as the title suggests, are imbued with deep meaning. “Words Are Worthless” and “Afterglow” are potent ballads.

All four Sleep Theory band members contributed vocals to Afterglow, and Cowell once again produced. Zakk Cervini (Bring Me The Horizon, Bad Omens, Architects) handled mixing duties.

As Revolver observed, “Sleep Theory’s rise has been swift, but frontman Cullen Moore has been training for it his whole life.” One of his earliest memories involves listening to Bobby Brown’s 1988 New Jack Swing classic, “My Prerogative,” in the apartment he shared with his parents and sister.

“I remember jumping on the couch, singing the song, just goofing off with my dad and having a good time doing it. I knew my dad used to sing. My mom and I used to watch a music video my dad made when he was younger. I knew I wanted to pursue music. It’s always been what I wanted to do.”

Before Sleep Theory, he dabbled in local bands that never took off. He reasons that Sleep Theory has eclipsed his earlier efforts because the music is “not only something I enjoy doing, but there’s a message behind it that’s more digestible for everyone to understand. Whether you’re a kid, a parent, or a grandparent, you can listen to the songs and appreciate the messages and sounds within them.”

Cullen’s signature style came together quickly in 2019 when he began collaborating with local producer David Cowell. Sleep Theory’s rich, emotional sound combines anthemic heavy rock like Linkin Park and Bring Me The Horizon with pop and R&B, equally adept at breakdowns and ballads. As the core duo, the pair developed Sleep Theory primarily as a studio project for the first few years.

Bassist Paolo moved to the U.S. from the Philippines in 2016 to pursue music. He met Cullen through mutual friends on Facebook (and a shared love of video games), then in person at a birthday party, where the singer heard him play a Paramore song on the guitar. They linked up with drummer Benjamin, who brought his brother Daniel (a killer guitarist and screamer) into the fold.

A few months after “Another Way” garnered 500k TikTok views in 36 hours, Sleep Theory became the first hard rock band chosen for SiriusXM and Pandora’s Artist Accelerator, a program that helps break new and emerging artists by leveraging the combined audience of two massive music services.

The Paper Hearts EP arrived via Epitaph in September 2023. "As Sleep Theory, we've poured our hearts and souls into crafting our debut EP,” the group said in a shared statement. “Each track is a piece of our collective soul, woven into melodies and lyrics that resonate with our experiences and emotions. Paper Hearts is not just music; it's our story, our passion, and our dreams set to sound."

An ever-growing audience connected with that Sleep Theory story as each successive Paper Hearts single gained momentum, from “Another Way” to “Numb” to “Gone Or Staying.” “Fallout” became the ninth most-played song on Active Rock radio in 2024. (Like “Another Way – Reimagined,” “Fallout—Reimagined” offered a cinematic and contemplative interpretation of the original track.)

“We wrote the Paper Hearts EP without any expectations, and I think that’s partly why it did so well,” Cullen explains. “While we were aware of the expectations from other people for the full-length, we blocked that out and got to work. I am competitive, but that competition is only against myself.”

Afterglow is a stunning display of diverse rock flavors. “The song ‘Threes’ is much heavier than people might expect from us,” Cullen says. “The two ballads on the record hit differently. I hope songs will help guide people through difficult emotions they may have trouble expressing in words.”

Revolver rightly declared, “The band’s exciting mix of metalcore, pop, and R&B is clearly connecting in a big way – and has positioned Sleep Theory as one of heavy music’s biggest breakouts.”

With Afterglow, Sleep Theory continues to exceed all expectations, setting new standards for the genre at every turn and pushing themselves to elevate their craft to new creative heights.

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Never content to sit still on the sidelines, Silly Goose slip through styles with a slick swagger. They’re salty enough to bust out a rap-rock banger that could just as easily light up the phones at TRL back in the day or the pit at Sonic Temple next year. At the same time, their emotionally charged melodies are smooth enough to get stuck in your head and stay there. Boasting an intoxicating blend of heavy metal, hip-hop, and alternative, they might steal your girl on one track, escape from prehistoric predators on another, or slyly address society’s struggles on the next. Stacking millions of streams, earning widespread acclaim, and packing houses on tour, the group—Jackson Foster [vocals], Alan Benikhis [drums], and Ian Binion [guitar]—consistently flip the script without apology on their second full-length LP and Blue Grape Music debut, Keys To The City.

“The music goes in directions you might not expect,” promises Jackson. “There’s the lighthearted party vibe that Silly Goose is sort of known for. However, there are new elements. The songs get heavier, and it’s a little angrier too. For me, a track can be serious or crazy, but the subject matter will always be cohesive. We want you to be able to tell what every song is about and know exactly what we’re saying.”

Hailing from Atlanta, Jackson developed a deep appreciation for Rage Against the Machine in middle school. From there, he discovered Limp Bizkit and found his muse in nu-metal, proceeding to embrace even heavier inspirations a la Mudvayne and Slipknot. During sophomore year, he joined forces with Alan and laid the foundation for the band. The boys presented their first EP, The Goose Is Out Of The Bag, before even graduating high school in 2021. Gaining traction, they buzzed with viral videos, the independent LP The Streets Heard It First, and countless pop-up performances across the country. Eventually, the duo completed the lineup with the addition of Ian. They built a devout audience one fan at a time and went on to sell out venues like The Masquerade in Atlanta. 2024 saw them sign to Blue Grape Music and ignite the Bad Behavior EP. Along the way, they also incited applause from Chicago Sun-Times, LoudWire, Metal Injection, and Revolver who professed, “It all equates to Silly Goose becoming one of the boldest and brashest voices in this new wave of nu-metal domination.”

In 2025, the trio really took flight. The musicians decamped to Los Angeles in order to record Keys To The City with GRAMMY® Award-winning producer Josh Wilbur [Korn, Megadeth, A Day To Remember].

“Bad Behavior was a big jump from The Streets Heard It First, but I really want Keys To The City to prove that we’ve leveled up even more,” he goes on. “We’ve been trying to get better with each release since the beginning. I tried to execute all of my vocals to the best of my ability, so the flow is clean, the screams are huge, and the singing sounds even better.”

You can hear it loud and clear on the first single and title track “Keys To The City.” It layers throwback turntable scratching and a funky bassline on top of a head-nodding beat. Jackson alternates between a cocky cadence, a hummable melody, and the hook’s scream, “So just move! I need the keys to the city and a big red car while I ride real pretty.”

“We don’t have a lot of money, but I wouldn’t change a thing at the same time,” he reveals. “I’ve already gotten farther along than I ever would’ve expected and I’m having a blast. If people think we’re balling, we’ll roll with it. Fake it till you make it, right?”

Then, there’s “Now Dance.” A sidewinder-precise riff locks onto a double bass barrage, and Jackson screams straight from the gut, “You can’t stop me!” The growl dissolves into a hypnotic croon, “Police arrive on the scene…I think they’re looking for me.”

“It’s screamy, unexpected, and fucking ridiculous in the best way,” he laughs. “The goal was to write a really intense track. I went definitely hard on the lyrics.”

“Split” illuminates the scope of their sound. Introspective and incisive rhymes weigh heavy on the tandem of clean guitar and a fluid bassline. At its apex, a chantable chorus takes hold, “I just want to love, but I hate everything you do. On the verge about to break.” Fittingly, it closes out with a shuddering breakdown.

“It’s one of the outliers, and it showcases a different side of what we’re capable of,” he goes on. “The raps are more laidback and lowkey, and the hook is sing-y. It thematically deals with when you break up, but you aren’t ready to move forward.”

They don’t knock; they break down the door on “Neighbors.” It channels the bounce of old school nu-metal with a fresh flare as the frontman proclaims, “I don’t care about the neighbors, and I’ve been known for bad behavior.”

“It’s a classic house party song,” he adds. “You’re having fun, and you’re not worried what anybody else thinks.”

The band rev up “Traffic” with a purring riff and snappy drums. The chorus seethes with tongue-in-cheek road rage, “So get up and go, stop moving so slow, I can’t get anywhere with everyone in my way.”

“You’re simply being frustrated with traffic,” he says. “There are some lighthearted lines. After touring the whole country, L.A. is the only city with worse traffic than Atlanta though.”

“Give Me My Money” embraces classic nu-metal energy with its unpredictable dynamics. It culminates on a melodic chant, “I’m under pressure. You’re gonna bleed me dry,” echoing over an entrancing bridge. It snaps back into a rapped catharsis with the scream, “Give me my money, or I’ll tear this place down!”

“The chorus is big and in-your-face, and the subject matter is ballsy,” he notes. “The sentiment is, ‘If you don’t like it, then fuck you’. We’ve got some funky guitar on it, and the lyrics are definitely self-explanatory.”

Meanwhile, “The Great Dino Escape” lives up to its title with Jurassic-ally clever bars such as, “Busting through the roof you thought was dino-proof, jumping that reinforced steel, this shit’s for real!” He grins, “It’s definitely a song about dinosaurs attacking a city and trying to escape.”

The finale “Heart Attack” cuts right to the core. “The album ends in a different place from where it started,” he observes. “Somebody has a certain expectation of you, but you don’t meet it. However, you don’t give a shit. The energy changes by the time it’s over.”

Ultimately, Silly Goose have arrived, and they’re going to be here for a long time.

“I want you to know we’re here to have a good time, but we also rip,” Jackson leaves off. “We don’t take ourselves too seriously, but this record shows we are the real deal. If you come to a show, we want you to dance, mosh, and have the best time ever.”

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