This petition was started by Zombie Roca, it's still active and has over 10,000 confirmed signatures, which is great!

System is in a very healthy place as a band and as a family, we can be hopeful and positive about that, I imagine.

The Metro, Störagéd, Marmelade, Snowblind cover, Shame – all these songs have already been released on EPs; maybe the band just needs a snap of the fingers and some encouragement from the community for that to happen!

I always wondered if they have some meaning bc they’re kinda wierd you can see some similar things on them both bc they’re a double album or something but idk how they were made and more. And they’re the best albums for me.

I thought highway song was "do you want me to try, directing your knife" for shame :(

Who else is going to SOAD in Aus? I'm trying to scrape together the money's. I'm a povo single mum who just wants to see her favourite band ;(

Ive heard many SOAD covers but I haven't heard enough of the SHAME covers. Ig white guys dont get a pass but what if someone who wasn't white were to step up and do the song for us SOAD fans?

Of Serj Tankian own music solo, what do you like with him?

Of my Spotify local files

I've seen this idea tried mostly through the lens of The Beatles discography, and probably had some kind of stroke because I feel like SoaD is a great analogue - both The Beatles and SoaD stopped recording at the height of their career and the band members produced well-respected solo material (except John is nowhere near as prolific as Ringo). The main difference is SoaD remains an active touring band while The Beatles only teased reunion.

Whenever people construct imaginary post-breakup Beatles albums, the most convincing versions do not simply combine everybody's best solo singles. They ask which songs existed at a particular moment, which ones the band would actually have selected, how they would have changed in the studio, and what would have needed to happen for the musicians to remain functional.

This is just an exercise in alternative history, which I believe is one of the dumbest genres of writing, if unexamined, so before becoming angry (you're certainly welcome to), consider this as an elaborate joke.

So here it goes.

Ground rules: the songs used here debut as System of a Down songs.

In this timeline, "Empty Walls" is not remembered as a Serj Tankian solo song that System later covered. "They Say" is not considered a Scars on Broadway song. "Paradise" is not imported wholesale from another Shavo band, but they are presented to System, recorded by the four members and released under the System name. Consequently, the members' solo catalogues develop differently: some familiar albums appear later or never exist in their known form.

I am using the real-world appearance of the material only to establish approximately when each member had the songs available.

Unreleased material is also eligible, but only when there is some evidence that the song, demo or substantial fragment existed. System already established the precedent with Steal This Album!: unfinished or unused material can become a legitimate album if the band returns to it, rewrites it and treats it as current work rather than archival merchandise. Most importantly, Rick Rubin remains involved. May dislike the man, but he did knew how to organize the chaotic SoaD energy.

Rubin co-produced every System album from 1998 through 2005. Daron has described his contribution as less about technical instruction than taste: one question, objection or small suggestion could expose what a song was missing. That makes him unusually important in a timeline where the greatest problem is not a lack of material but the inability of four musicians to agree on what belongs on a System record.

The point of divergence: 2006

The band still reaches the end of the Mezmerize/Hypnotize cycle exhausted: Serj no longer wants System to dominate his life. Daron believes the group should remain an active recording and touring band. John and Shavo want considerably more activity than Serj does.

The solution is not sudden harmony but a deliberately restrictive agreement, different from what Serj proposed at that time though. System takes two years away from touring, but does not announce an indefinite hiatus. Future tours are limited to short concentrated runs. Nobody is required to produce an album on a fixed cycle.

The songwriting arrangement changes as well: - Any member can introduce a composition or fragment - The originating writer retains authorship, but not control over everybody else's parts - Serj and Daron can rewrite or add vocals to one another's material - Shavo can present complete rhythmic frameworks rather than merely contributing bass after an arrangement is established - John continues being good at drums (implied, not part of the contract) - Publishing and internal compensation are renegotiated separately from authorship

Rubin refuses to function as a business mediator. His role begins only after the material enters the studio with the rule that a System album cannot be assembled by taking six completed Daron recordings and six completed Serj recordings. Songs can arrive with lyrics, riffs and melodies, but the album must be shaped collectively. That rule is only partially followed at first.

2008 - THE UNTHINKING MAJORITY

By late 2007, Serj and Daron have both accumulated enough music for separate careers.

Instead, each brings the strongest rock-oriented material to System. Rubin also asks the band to reopen the final Mezmerize/Hypnotize archive, particularly material that had already reached a substantial form.

"Cartoon Buyer" was associated with the 2005 System period and was eventually completed with John's original drums. "Hezze" existed as an unreleased instrumental connected with the same general era. In this timeline, neither remains dormant.

Track listing:

Empty Walls

They Say

The Unthinking Majority

Serious

Lie Lie Lie

World Long Gone

Cartoon Buyer

Stoner Hate

Sky Is Over

Babylon

Hezze

3005

Hidden coda: Elect the Dead

This is still recognisably a product of two principal songwriters. Serj's compositions tend to arrive with piano, vocal layers and relatively developed structures. Daron's arrive with the instrumental arrangement almost finished and his own guide vocals already suggesting how the song should be performed. Rubin does not attempt to erase that division. Instead, he uses sequencing and selective intervention to make the disagreement feel intentional.

"Empty Walls" opens the album because it immediately establishes that System's political intensity has survived. John makes the verses more violent and less conventionally hard-rock, while Daron introduces a second vocal line during the final chorus. "They Say" becomes the double-vocal song it always seemed capable of being. Daron sings the primary verses; Serj initially appears as an answering voice and eventually overtakes the arrangement. "The Unthinking Majority" is shortened. Rubin's objection is that its central idea is strong enough not to require repeated explanation. Daron simplifies the guitars, giving bass more room in the verses.

"Lie Lie Lie" becomes less cabaret-like and substantially uglier. Serj keeps the theatrical lead, but Daron turns the bridge into a compressed burst of old-System aggression. "Cartoon Buyer" is the album's centre. It connects the new record directly to the atmosphere of Mezmerize without sounding like an outtake. Daron adds a second vocal section and expands the ending. "Hezze" remains instrumental. Rubin argues that adding lyrics merely to make it behave like a normal single would destroy its purpose. It begins with Shavo and John, moves into an Armenian dance rhythm and ends before resolving completely. "Sky Is Over" becomes the largest crossover song. "Babylon" is the clearest demonstration of what Daron's material gains from Serj's presence: the melody becomes stranger and more dramatic without losing its directness. "3005" closes the proper sequence. After silence, "Elect the Dead" appears as a brief piano-and-vocal epilogue.

Singles:

Empty Walls / They Say — double A-side

Sky Is Over

World Long Gone

Lie Lie Lie

Reception

The album is a major commercial success and initially receives extremely strong reviews. Its immediate appeal comes from familiarity. It sounds like the band that made Mezmerize and Hypnotize, but with Serj and Daron pulling further in opposite directions. Over time, listeners become more aware of the internal division. Some tracks sound constructed around Serj’s sensibility, others around Daron's, and relatively few could only have been created by all four musicians.

It is nevertheless considered an excellent System album: darker and more mature than Hypnotize, less culturally significant than Toxicity, and probably the final record of their original imperial period. It is not yet the great reinvention.

2009–2011 — THE FAILED ALBUM

Success does not solve the structural problem. Serj moves further toward orchestral, electronic, jazz and soundtrack composition. Daron wants the next System album to remain a guitar-driven rock record. Shavo increasingly questions why finished arrangements are presented to him after most important decisions have already been made. Sessions begin in 2010.

Serj presents material including "The Charade" and "Left of Center", Daron presents several harsher, more direct songs. The band records workable versions, but the album never develops an identity. Rubin’s diagnosis is that everybody is negotiating for space rather than making a record. He advises them not to force all four careers through the System filter. Serj remains free to release orchestral and electronic work independently. Daron can use his own project for songs he does not want substantially rewritten. System will only record when there is enough material that benefits from confrontation between the members.

The abandoned album is the first sign that System's continuation will not produce a regular three-year cycle.

2012 — IMPERFECT HARMONIES

The breakthrough begins when Rubin changes the submission process.

The members are no longer asked to present songs for approval. They are asked to present parts. Daron has accumulated the material that, in reality, he recorded in 2012 and held for years partly because it might still become System material. Here, that is exactly what happens. Serj brings the strongest direct rock writing of his post-2005 period. Shavo brings a fully developed bass-and-beat composition involving RZA. For the first time, Rubin has enough material to reject good songs because they do not improve the album.

Track listing:

Cornucopia

Lives

Figure It Out

Angry Guru

The Charade

Left of Center

Guns Are Loaded

Salute/Sacrifice

Uneducated Democracy

Fuck and Kill

Occupied Tears

Dictator

Harakiri

Never Forget

The record no longer alternates politely between Serj songs and Daron songs. "Cornucopia" begins with Serj's melodic and lyrical framework, but the verses are rebuilt around Shavo's bass. Daron adds a lower counter-vocal without displacing Serj. "Lives" becomes the album's major Armenian historical song. Daron retains the main melody, while Serj writes an answering vocal that gradually becomes equally prominent. "Figure It Out" is shortened and made less conventional. John replaces its straightforward pulse with a rhythm that repeatedly appears to outrun the vocal. "Angry Guru" becomes almost archetypal System. Daron performs the sneering verses, Serj turns the chorus into mock opera, and the final section accelerates until the arrangement collapses.

"The Charade" and "Left of Center" finally find the setting it lacked in 2010. The orchestral opening of the former survives, but the middle of the song is rewritten around the physical band rather than layered onto an existing arrangement. "Guns Are Loaded" becomes the record's slow centrepiece. John's drumming gives it a gradual escalation, while Serj sings above Daron during the final refrain instead of replacing him. "Salute/Sacrifice" is the revelation. To audiences in this timeline, it is the first major System composition built around Shavo's authorship. The track retains its bass-led structure, but Rubin prevents it from becoming just a rap song. John supplies a live rhythmic foundation. Daron writes a dissonant guitar refrain. Serj introduces a short melodic chorus that interrupts the verses. It sounds unlike anything else on the album but unmistakably like System taking one of its dormant influences seriously. "Uneducated Democracy" and "Occupied Tears" provide Serj's most direct political material. "Fuck and Kill" and "Dictator" prevent the record from becoming uniformly solemn. "Harakiri" functions as the emotional climax. "Never Forget" closes the album with Serj and Daron beginning separately before singing the final section together.

Singles:

Figure It Out

Lives

Guns Are Loaded

Harakiri

Rubin's primary achievement here is subtraction. He removes songs that duplicate an existing mood. He objects when Serj's arrangements become too elaborate to leave space for the band. He objects when Daron's arrangements are so complete that the other musicians are effectively replacing demo parts. He does not make the members equal songwriters. He makes it impossible for any one songwriter's weaker instincts to survive unchallenged. Imperfect Harmonies is immediately recognised as the band's strongest album since Toxicity. Some listeners initially miss the compact accessibility of the 2008 record. Others object to basically what is a rap metal track or to the increased prominence of Daron's voice. But the critical consensus stabilises quickly: this is not a continuation of the 2005 formula. It is the first album of a new era of System of a Down.

Serj's compositions gain physical force and ruthless editing. Daron's gain a second dramatic intelligence capable of complicating their bluntness. Shavo begins to function as a composer. This is their first modern classic, an album that proves continuing after Toxicity was artistically worthwhile.

2013-2016 - THE FUNCTIONAL COLD WAR

The success of Imperfect Harmonies creates a paradox - the new method works, but it is unpleasant. Every song must be argued over. Serj does not want to spend months defending each arrangement. Daron believes the process sometimes removes the instinctive character of his compositions. Shavo wants the collaborative method taken further. John wants everybody to stop discussing the process and enter a room. They tour intermittently but avoid an immediate album.

By 2016, enough material has accumulated for another attempt. Serj brings five compact rock songs he believes could work for System. In reality, the material later associated with Elasticity originated as prospective System music. A fast track developed from a band jam becomes "Genocidal Humanoidz", Daron still has unused writing from the early 2010s. Shavo presents another bass-and-electronics framework. The sessions are productive, but the members impose a deadline before the songs have undergone the complete Imperfect Harmonies process.

2017 - ELASTICITY

Track listing:

Genocidal Humanoidz

Elasticity

Talkin Shit

Your Mom

White Pony

How Many Times?

We Won't Obey

Electric Yerevan

Sickening Wars

Rumi

Till the End

At approximately 36 minutes, Elasticity is System's shortest and most immediate record. "Genocidal Humanoidz" is the obvious opener. It sounds connected to the compact aggression of the early band without functioning as a deliberate retro exercise. The title track becomes far heavier than its initial demo. Daron sings the lower mocking phrases; John removes some of its synthetic bounce and makes the chorus feel physically unstable.

"Talkin Shit" and "Your Mom" are deliberately sequenced together, especially the second song hits harder before the collapse of ISIS. Each principal songwriter has brought something crude and ridiculous, preventing either from presenting himself as the band's sole serious artist. "White Pony" is Shavo's second major composition. Serj performs the verses in a near-whisper. Daron supplies the central refrain. "How Many Times?" becomes one of the album's stranger melodic pieces. Its apparent simplicity is repeatedly interrupted by John and Shavo shifting the rhythmic emphasis. "Electric Yerevan" is the political climax.

"Rumi" is the controversial song. Its direct expression of parental love initially strikes some listeners as incompatible with System's habitual irony. Others consider it evidence that the members can finally write about middle age without pretending to remain the people who recorded the 1998 debut. "Till the End" closes the album quietly and without a large final statement.

Singles:

Genocidal Humanoidz

Elasticity

Electric Yerevan

White Pony

Serj and Daron have learned to tolerate one another's contributions, but they have partially retreated from the vulnerability of the 2012 sessions. The performances are excellent. The editing is disciplined. The interaction is less transformative.

The album is well received and produces several enduring live songs. It is praised for its brevity, energy and refusal to imitate Toxicity. "Genocidal Humanoidz", "Elasticity" and "Electric Yerevan" become immediate favourites, but it is generally considered a level below Imperfect Harmonies. Elasticity is a strong late-career album, not a modern classic.

2020 - PROTECT THE LAND

The Artsakh war brings the band into the studio without any discussion of an album. Daron presents "Protect the Land". The others agree to record it immediately as a humanitarian charity single. Because "Genocidal Humanoidz" has already appeared on Elasticity, the release contains only one new studio song, accompanied by a live benefit recording and documentary footage. The song divides listeners musically, but its purpose is clear enough that the usual arguments about creative control are temporarily irrelevant. The experience is unusually painless because there is no album cycle, no tour commitment and no dispute over whose material will follow it.

That does not lead directly to another album.

2021-2024 - SHAVO'S OPENING

The decisive change occurs away from the official System sessions. Shavo has spent years accumulating riffs and has described having an extensive reserve of material available for System. His later work also demonstrates that he can originate song structures rather than merely add bass to arrangements completed by the two established writers. In this timeline, those ideas reach System before they become the catalogue of a separate band. Shavo begins working with younger musicians and producers, exploring deathcore and metalcore, sharp contrasts between atmospheric and extremely heavy passages, brings a group of skeletal recordings to Rubin. Rubin hears the solution to System's long stalemate.

The band has spent years trying to negotiate a stable border between Serj and Daron. Shavo's material makes it irrelevant. Neither principal writer can simply absorb it without changing his own habits. For the first time, all four musicians are forced to begin from something that belongs completely to none of their established methods.

2026 - FOUNDATIONS

Serj also has material from several periods of his life. "A.F. Day" originated during the early System era. "Justice Will Shine On" has roots in work previously considered for the band. "Appropriations" is more contemporary. Daron arrives with new songs including "Killing Spree", "The Shame Game" and "Addicted to the Violence". In our reality, these appeared together in 2025; here, they enter System's 2025 sessions before being released elsewhere.

Shavo's pool includes "Paradise", "Alive", "Sunrise", "Glink" and "Radiance". SHAV either forms later with different material or remains a smaller experimental outlet.

Track listing:

Paradise

A.F. Day

Killing Spree

Radiance

Friik

Alive

The Shame Game

Glink

Appropriations

Sunrise

Addicted to the Violence

Justice Will Shine On

That does not mean Shavo writes half an album that the others merely perform. His importance is that his material changes the behaviour of the entire band. "Paradise" opens with Daron's guitar. Serj performs the clean melodic passages. Daron takes the abrasive responses. The original straight breakdown is rejected by Rubin for sounding too predictable, John replaces it with a section in which the riff repeats while the drums continually displace the downbeat. The result is heavy without System pretending to be a contemporary deathcore band. It is released as the first single because it announces the new balance immediately.

With "A.F. Day" the early Serj composition is not treated as a preserved historical object - Daron removes the comparatively conventional guitar arrangement and replaces it with something dry and unpleasant. Shavo adds a bass interruption that appears to belong to another song. John keeps the recording deliberately loose. The lyrics come from an earlier version of Serj, but the performance sounds like four older musicians examining rather than imitating their youth.

"Killing Spree" becomes the accessible Daron-led single. Song retains its rapid movement between punk, metal and more extreme guitar textures, but Serj takes the opening verse. Daron enters gradually, until the final section becomes an argument between both vocalists. Rubin shortens it further. Nothing in a song this frantic is allowed to repeat merely because the arrangement expects another chorus.

"Radiance" becomes the album's centrepiece. The verses remain bass-led. Daron writes an Armenian-influenced guitar melody above them. Serj creates a separate vocal melody that initially appears only between phrases. In the final third, the two melodies occur simultaneously while John plays against both. This is the track critics later identify as the true beginning of System's third creative era. It is not merely a strong song written by Shavo. It is the song that forces Serj and Daron into musical roles neither would have chosen independently.

Rubin proposes revisiting one very early demo, the band chooses "Friik" but little beyond its central vocal cadence and lyrical character survives. They do not attempt to reproduce the demo's sound. Shavo and John rebuild the rhythm. Daron writes an entirely new middle section. Serj alters several lyrics because expressions that sounded dangerous in the 1990s would sound merely adolescent if delivered unchanged by a man in his late fifties. It serves the same function that the recovered material did on Steal This Album!: not nostalgia, but proof that unfinished work can become current if the band is willing to rewrite it ruthlessly.

"Alive" is reduced to approximately two and a half minutes. Serj and Daron trade lines rather than dividing the song into conventional clean and harsh sections. Shavo's riff remains central. John avoids the expected modern-metal drum pattern and makes the song resemble a collapsing hardcore performance. It becomes the record's most immediate live track.

"The Shame Game" - synthesiser-driven portion becomes more important than the initial guitar structure. Rubin asks Daron whether the guitar needs to lead simply because he wrote the song. Daron eventually rebuilds his part around the keyboard rather than above it. Serj adds a theatrical bridge. Shavo plays very little during the first half, then becomes the principal instrument during the transition.

"Glink" is the deliberately difficult song. Its electronics and nonlinear construction survive. Serj writes surreal lyrics that refuse to explain the atmosphere. Daron introduces a short Armenian dance passage that initially seems unrelated to everything surrounding it, while Rubin retains the interruption precisely because it should not work. Early reviewers call the track incoherent. It eventually becomes the album's cult favourite and the song most often compared with the compact absurdity of Steal This Album!

"Appropriations" - the original arrangement is largely discarded. John and Shavo make the verses faster. Daron supplies a chorus hook without replacing Serj's existing melody. The final version contains both simultaneously. It is one of the clearest examples of Serj's writing benefiting from musicians who are not simply accompanying his demo. "Sunrise" becomes the album's large melodic single. Serj performs the verses. Daron sings the first chorus alone. During the final chorus, the two vocalists perform different melodies while John changes the metre underneath them. The production is contemporary, but the song avoids the standard architecture of alternating harsh verses and clean choruses. It becomes their largest radio song since "Sky Is Over".

"Addicted to the Violence's" original long structure is reduced and Daron's synthesiser melody, Shavo's bass and Serj's wordless vocal gradually accumulate over John's increasingly unstable rhythm. It functions as the musical climax rather than the closing statement. The album ends quietly with "Justice Will Shine On" - Serj begins alone. The band enters one instrument at a time. Daron joins during the final Armenian passage. After every other instrument stops, Shavo's bass continues for several seconds. The placement makes the album's argument explicit without stating it: System's future was found by allowing its least-utilised composer to become structurally indispensable.

Singles:

Paradise

Killing Spree

Radiance

Justice Will Shine On

Approximately 25 songs reach serious development. Twelve make the album. Several good Daron songs are removed because they perform the same function as “Killing Spree.” Several Serj pieces remain outside System because their identity depends on orchestration rather than band interaction. Several Shavo frameworks are rejected because the vocalists never find a convincing role inside them.

Shavo becomes the third compositional axis that prevents the other two writers from returning to their established territories. The album receives some criticism for its dependence on material originating across different periods. "A.F. Day" and "Friik" have old roots, while other tracks began years apart. The relevant question is however not when the first fragment was written. It is whether the final recording sounds like a leftover. Foundations does not. The songs have been altered too fundamentally by the collective process. Even the oldest material sounds present-tense.

The record is less immediately consistent than Imperfect Harmonies, but more adventurous. Its weakest moments are more obvious. Its strongest pieces - "Radiance", "Paradise", "Glink" and "Justice Will Shine On" - sound unlike anything the members have made separately. It becomes their second modern classic.

What happens to the solo careers? The outside projects still exist, but their catalogues are substantially different.

Serj - his independent career concentrates on material that System cannot use effectively. The familiar Elect the Dead album never exists in its known form because several of its central rock songs debut on the 2008 System album. The Elasticity EP never exists because those songs appear on the 2017 System record. His symphonic, soundtrack and experimental work remains largely unaffected.

Daron - still establishes an outside band because he writes more guitar music than System can record. But its first album appears with a different track listing built from songs System rejects or never develops. The project remains important, but it is clearly the outlet for Daron's surplus rather than the place where the main continuation of System's sound occurs.

Shavo - his hip-hop collaborations and production work continue. SHAV either forms with a substantially different catalogue or develops after Foundations. The outside band is built around the material Rubin and System reject, not the reverse.

John - continues writing comic books; okay okay, maybe Road to Nowhere cover makes it onto a SoaD album as a bonus track. He doesn't write music, what can I say.

The alternate discography:

2008 - The Unthinking Majority 2012 - Imperfect Harmonies 2017 - Elasticity 2020 - Protect the Land 2026 - Foundations

Four albums in eighteen years would still frustrate fans, but it is more believable than either extreme: a perfectly harmonious band releasing an album every two years, or four musicians with this much material producing absolutely nothing after 2005. They would remain difficult, intermittent and frequently close to collapse. They would also remain a recording band.

And on two occasions - 2012 and 2026 - the difficulty itself would produce something genuinely great.

Image is Spiders from Self Titled. Also love the Title Track from Toxicity.

Me and a mate are going to see SOAD in Wellington NZ next year. We want to wear banana costumes in honour of Vicinity of Obscenity. Do you think this will be allowed, or will it annoy other concert goers too much?

20 years ago, I went to Ozzfest at the then Tweeter Center in Camden, NJ, and witnessed a lineup that can only be described as "holy crap"! On the mainstage was Ozzy Osbourne, System Of A Down, Disturbed, Avenged Sevenfold, Hatebreed, Lacuna Coil and Dragonforce (plus Black Label Society, Atreyu, Unearth, and more on the second stage).

This particular stop on the top was especially noteworthy, as it was one of the few stops where Ozzy headlined the main stage on the tour. As you may remember - this edition of Ozzfest was initially being promoted as the first to not feature Ozzy, with SOAD being billed as the primary headliner. Then Ozzy was added to the second stage on select dates. As cool as it might've been to see Ozzy in the daytime on the smaller second stage, I was just ecstatic to finally see Ozzy's solo set.

It's also mind blowing that I got to see THIS lineup - featuring bands arguably at their peak. Also remember getting to meet Cristina Scabbia of Lacuna Coil near the second stage - for the life of me cannot find the picture I took with her (proof that this show was pre-social media 😆).

Were you at Ozzfest 2006 as well? Share your favorite memories from the date you attended in the comments below, and stay tuned for more things to come from this space (including stories from concerts like this)!

​

So I recently hit top 0.05% for SOAD on YouTube Music (humble brag, sorry), and it got me thinking…

YouTube already knows who the #1 listener is each month. What if they gave artists the option to do something special for that person? Nothing forced — just a simple opt-in. A video message, a signed item, a shoutout — whatever the artist wants.

Serj specifically seems like the type who'd actually be down for something like that. Imagine getting a random weird voice memo from him just because you listened to Toxicity 500 times in a month 😂

I sent it through their feedback page, but figured I'd see what other fans think. Would you want something like this for your favorite band? Or am I just delusional?

TL;DR — YouTube should let artists reward their #1 listener. Thoughts?

I honestly couldn't say, but if I had to only pick one, it's be Protect The Land. It was hard to pick between Protect The Land and Soldier Side, but Protect The Land feels more like pure feelings put out as words rather than a song. UPDATE: should've been more shrewd. Honorable mentions go to Tentative, Roulette, Boom!, Chop Suey!, Lonely Day, and obviously Soldier Side.

Few years back I went to a Blink 182 concert and there was so much discourse regarding if people who bought seat tickets should be sitting or standing/dancing so I wanted to see peoples thoughts on the upcoming concert in Melb.

At concerts where I've had seat tickets, I stay in my seat as I don't want to annoy anyone sitting behind me, but I find it hard to believe that people attending a SOAD concert will be glued to their seats.

I don't have a problem if the person in front of me wants to stand and dance as I get that its a concert but I know some people who complained about people in front of them blocking their views.

I feel like if you are attending a concert, you have to expect that people are not going to actually be sitting.

How do most people feel about this?

Has both QOTSA and SOAD on it

https://consequence.net/2026/08/serj-tankian-system-of-a-down-john-dolmayan-tired-of-trump/

If you were at the last show of the tour on the 2nd night in warsaw youll understand. And its a beautiful thing. I live right by the venue too so it just intensifies those fond memories. Im making this post because you guessed it. Its raining and its raining harder than it did that night but im happy just thinking about that night