For my own music, I really like to have endless possibilities,” Spiritbox leader Courtney LaPlante says. The singer believes the metal world is too preoccupied with subgenres — helpful for listeners looking for distinct flavors of heavy music but constricting for acts that want to scribble outside their assigned hard rock lines.
LaPlante says other genres aren’t quite as strict: “Look at the first few records that Doechii made and then look at the next three — there are a lot of polar opposites,” she says. “I feel like there’s a drive for artists for each album or body of work to be its own thing.”
Although Spiritbox trades in modern metalcore, the Canadian quartet has become one of the biggest new hard rock acts of the decade by reaching beyond its sonic boundaries: On its 2021 debut, Eternal Blue, which has earned 230,000 equivalent album units, according to Luminate, the band supplemented bone-crunching riffs with hints of synth-pop, prog rock and R&B. The 36-year-old LaPlante, who’s adept at guttural screaming as well as soulful crooning, drives that diverse palette.
“She’s an encyclopedia of music in general,” says Mike Stringer, Spiritbox’s guitarist and LaPlante’s husband, a few minutes before LaPlante gushes about the latest FKA twigs album and Kate Bush’s back catalog. “We’ve always had this open-door policy of, ‘If we enjoy it and it’s catchy, we’ll probably release it.’ ”
Tsunami Sea, the band’s long-awaited second album, does indeed feature some of its biggest hooks to date as well as some of the group’s most thrash-ready moments, often in the same song. Released March 7 on Pale Chord/Rise Records, the album arrives on a wave of hype, with two consecutive Grammy Award nods for best metal performance and all three of the album’s prerelease tracks — the blistering “Soft Spine,” melodic “Perfect Soul” and electro-tinged “No Loss, No Love” — cracking the top 20 of Hot Hard Rock Songs.
The act opened for bands like Korn, Shinedown and Papa Roach over the past two years but was also tapped by Megan Thee Stallion to remix her song “Cobra” in 2023. Most importantly, manager Jason Mageau says, “They’ve spent the past few years figuring out who they are.”
Rising from the ashes of metal group Iwrestledabearonce in 2017, Spiritbox — whose lineup also includes bassist Josh Gilbert and drummer Zev Rosenberg — spent its first four years weathering personnel changes and gathering early singles for EP releases. While the 2020 singles “Blessed Be” and “Holy Roller” went viral online, the pandemic upended the rollout for Eternal Blue, including touring. “At that moment in time, they had played under 10 shows together,” Mageau says. “So we really took our time building that live show, taking some support opportunities and learning from them.”
Spiritbox released two more EPs, 2022’s Rotoscope and 2023’s The Fear of Fear, to tide over fans who were eager for new material as the band played hard rock tours and festivals. Tsunami Sea took roughly two years to write and complete during gaps in that touring schedule, with 30 song ideas whittled down to the most cohesive 11-track project the group could make.
“It was a very intense process near the end, but I think I had a lot more fun writing for this record than I did Eternal Blue,” Stringer says, “and I feel like it has more of an identity to it.” Because the album follows a more extensive touring history, Spiritbox finished the new songs with a better understanding of how they might translate onstage and more consideration of LaPlante’s live vocals. “We know ourselves musically, as we’re getting older and discovering more about what we can actually achieve,” she says. “For the first time now, when we write stuff, I feel confident. It [only] took 20 years.”
After performing some prerelease shows in Europe, Spiritbox will begin a spring global headlining tour on April 3 in Dallas and then join Linkin Park for select stadium shows in the summer. When asked about commercial goals for Tsunami Sea — considering that Eternal Blue peaked at No. 13 on the Billboard 200, its follow-up could become the band’s first 10 entry — Mageau shrugs off anything empirical.
“I really want them to just be themselves. They’ve been a support band for two years — let’s show them what we’re made of,” he says. “It’s been all about finding new areas to insert our band into mainstream conversations and try to bring more women into the space, too. When this band first started, the female listenership on Spotify would be, like, 10%. Now we’re in the 30% range of women listening to the band, and [LaPlante] wants that to increase even more.”
For her part, LaPlante says that being among the fast-rising women in metal is a galvanizing force for a band trying to turn its expanding audiences into safe spaces. “I love the fact that I see all different ages and genders at our shows and kids presenting in any way they want,” she says. “They’re not there because I’m a woman and they’re not there despite me being a woman. They all just heard our siren call and we found each other.”
This story appears in the March 8, 2025, issue of Billboard.
