Seeing Panic! At the Disco -A Personal Experience

A&EPanic at the DiscoTeresa DaleEmery Kiefer

Emery Kiefer

Teresa Dale
   Staff Writer

With his energetic swagger, sequined blazer and a vocal range consisting of four octaves, Brendon Urie’s stage presence was more notable than any of the lights or pyrotechnics at the Panic! At The Disco concert on April 11. On a Tuesday night at the Greensboro Coliseum, Brendon Urie and his band graced the stage for a 90-minute set that cycled through the band’s greatest hits, alongside tracks from the tour’s namesake album, ‘Death of a Bachelor.’

The show started off with opening bands, Saint Motel and Misterwives, who both performed short and entertaining sets that meshed well with Panic’s sound. The bands did a great job of hyping up the crowd, so when Panic! At The Disco finally took the stage, the stadium was filled to capacity and everybody was on their feet.

Panic came out to ‘Don’t Threaten Me With A Good Time’ as gold streamers fell into the crowd. There were no downbeats as the band made its way through a mashup of songs dating all the way back to their first album in 2005. Urie held nothing back during his performance as he showed off his vocal range, dance moves and backflipping capabilities.

The show took a more serious turn when Urie made a statement with ‘Girls/Girls/Boys,’ a song speaking about free love. Fans held up multi-colored hearts in front of their phones during the song, and the crowd transformed into an amazing rainbow sea of lights as Urie tied a gay-pride flag to his mic stand. It was a united moment for the crowd and Urie used it to talk about equal rights. He called the moment his favorite part of the show, and used it to transition into his cover of Queen’s ‘Bohemian Rhapsody.’ The show ended with Urie proudly proclaiming his love for his fans and he performed well known, fan-favorites: ‘I Write Sins Not Tragedies’ and ‘Victorious.’

Panic! At The Disco has been one of my favorite bands since my ‘scene’ phase in middle school, and this concert only solidified their position in my heart. But this band does more than just appeal to my sense of nostalgia. I know I’m not alone in having the opinion that Panic’s fifth studio album, ‘Death of a Bachelor,’ is one of their best albums yet.

When Panic first arrived on the music scene with their eccentric stories of ‘sinners’ and ‘whores’, there weren’t many teenage hearts Brendon Urie didn’t steal for his emo cabaret. I was among that young group of fans whose affections were won by their incessantly long song titles and liberal use of guy-liner.

This album, however, reached beyond my repressed teenage angst and reminded me why I love punk-rock music like theirs to begin with. ‘Death of a Bachelor’ received largely positive reviews from critics at its release, and was massively popular among fans as it quickly became the band’s first number one album on the Billboard charts.

Panic! At The Disco was formed in 2004 in the suburban area of Summerlin, Las Vegas. Discovered at an early age by Pete Wentz of Fallout Boy, the band recorded its first demo while its members were still in high school. Shortly after, the band recorded and released its debut studio album, ‘A Fever You Can’t Sweat Out’ in 2005, which held one of the most popularized singles of all time, ‘I Write Sins Not Tragedies.’ Since then, the band has lost members, and gone through several musical metamorphoses. Nevertheless, they have always had a strong and loyal fanbase who have kept their name and claim to fame thriving.

As the last standing original member of the band, this album also serves as Urie’s solo comeback record. Now that the revolving door of members is closed, front man Urie has been free to take full creative control, and it’s not luck that this album is has been all the better because of it.  

The ‘Death of a Bachelor’ album and subsequent tour have proven to be a genre-defying force that has established Panic! At The Disco as so much more than a band that appeals to people’s sense of nostalgia. Brendon Urie, with his unique sound and larger-than-life persona are alive, well, and kicking more fiercely than ever.

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