Review: Fall Out Boy @ The Palace Theatre – 27/03/13

Sharona Lin

Founder and editor-in-chief of Pop Culture-y. Also writes, works in the public service and watches a lot of TV. Graduated RMIT with a Bachelor of Communications in 2014.

You may also like...

2 Responses

  1. Open says:

    Used to be good?Real talk- Fall Out Boy got better with time. Take This To Your Grave, altoguhh fun, is the most derivative hackjob of the FOB career. Take Calm Before The Storm and Reinventing The Wheel To Run Myself Over and respectfully put them on Stay What You Are and Can’t Slow Down by Saves The Day, and you wouldn’t even know the difference. In this regard, I’m surprised about two things- 1) Chris Conley wasn’t getting royalty checks for this album (they had to save that money for Wes Eisold), and 2) They didn’t get Chris to drop a woah’, okay’, or yeah’. Not only that, but damn if the beginning of the chorus of The Patron Saint Of Liars and Fakes doesn’t sound exactly like the beginning of the chorus of Taking Back Sunday’s Cute Without The E’ (Cut From The Team) . These STD and TBS bros should be screaming It’s my money, and I want it now. The obvious nods to punk on From Under The Cork Tree, with references to Knives Out t-shirts, American Nightmare lyrics, and emo bands in drop-D tuning (which I like to call Drop D-mo) were real cute if they were trying to attract mid to late 20-something dudes (like me) and late-blooming alterna-emos who caught the How to dress emo guide in their older siblings magazines. The album is really strong, with a base of meaty mid-tempo Texas Is The Reason chords, and flirtations with scene sketchiness which, on the lyric sheet in the artwork, omits certain iffy/creepdog lyrics (which eventually became plastered all over the internet and is very tame by today’s standards, where first base is, I duhnno munging? Y’all tell me, you’re the experts on youth , right?). iInfinity On High is, to me, the perfect career move for Fall Out Boy. The intro drop by Jay-Z moving into metalcore mosh is perfect to get flatbrimmed, athletic short-wearing meatheads to punch weaker flatbrimmed, athletic short-wearing meatheads without someone calling out AWWWWW YEAH, YOU KNOW WHAT FUCKING TIME IT IS! MOVE! For the soccer fans, Bang the Doldrums is stadium-worthy, with it’s pogo-pumpin’ woah-ing, and to reel back the fans that called FOB sellouts (and started listening to Pan!c at the Disco), you’ve got the pop-worthy, I’ve Got All This Ringing In My Ears and None On My Fingers. Where *are* the P(!)ATD fans these days, anyway? and, still flirting with their hardcore roots, The snooty-but-crying hxc kids can masturbate to direct quotes from Wes Eisold’s poetry book.Here’s where it all goes wrong- FOB covered Michael Jackson’s Beat It. I shit you not, when I saw them play this, no one, absolutely NO ONE sang along, knew what the words were, or who Michael Jackson was. All momentum died, like Cave In’s chances of ever capturing screamo fans that eventually went on to love Hawthorne Heights, and I seriously felt bad for FOB. I couldn’t have felt worse for them even if I witnessed Pete Wentz trying on eyeliner at Macy’s while getting sprayed down, looking for the brand that doesn’t drip. That’s it. FOB lost their young fans while trying to appeal to older ones. Folie e0 Deux was a great album, full of danceable rhythms, soulful melodies, and nods to poppy punk, new wave, and 80 s dance music, but it was really too late. This album, with a perfect ebb and flow, without all the HXC, emo, and scene kid posturing, is the greatest FOB album. But just like Taking Back Sunday’s Louder Now, no one was around to hear it.

Leave a Reply

Your email address will not be published. Required fields are marked *