said they re-grouped after a few days and talked about their issues, which helped stop them from breaking up. In September 2006, Underoath went on a tour of Central and South America, which led into a Canadian tour with support from Silverstein, Moneen, and He Is Legend. In October and November 2006, the group went on the international edition of the Taste of Chaos tour, visiting New Zealand, Australia, Japan and Europe. Between February and April 2007, the band went on a North American tour alongside Taking Back Sunday. In May 2007, the band headlined the short Dirty South Tour in the US, with support from Norma Jean, Maylene and the Sons of Disaster, and the Glass Ocean, before playing a few shows in Australia with Emery in June 2007. From early July to late August 2007, the band went on the Warped Tour. Between late September and early November, the band went on a headlining US tour with support from Every Time I Die, Maylene and the Sons of Disaster, and Poison the Well. During the Las Vegas, Nevada date of the trek, Gillespie was forced to have emergency surgery as he had contracted an infection in his hand. The Almost drummer Kenny Bozich filled for Gillespie's parts; he had been hiking around Utah when he was asked to cover for Gillespie. Bozich listened to the band's songs on the flight over, managing to make it 25 minutes before they went on stage. Chamberlain and McTague covered Gillespie's vocal sections; he re-joined Underoath four days later. Reception Define the Great Line was met with generally favorable reviews from music critics. It is seen as Underoath's big breakthrough into the mainstream by Cummings, while Taylor referred to it as the most anticipated album that year. Both Cummings and Taylor called the album the best hardcore album of the year; Taylor giving the album a near-perfect rating and Cummings gave it a perfect score. The Kern County Kid of HM called the album "nearly perfect," stating that it was "like one harsh line in the sand that dares its audience to embrace the band on its own terms". Monger described Define the Great Line as a "mammoth production that exemplifies how far Christian metal has come since the days of Stryper and Bloodgood", and called it "blistering and occasionally majestic". Taylor saw it as a release which "somehow still contains the