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Published April 3, 2013

Fall Out Boy haven’t visited Australia since vocalist Patrick Stump had baby fat. Since then, their fans have had plenty of time to obsess over them. And they’ve done that extremely well. Fans that showed up hours before the Palace Theatre doors opened were treated to a line of people – young, old, girls and guys – that snaked around the block. Several times.

Old FOB

The Illinois band took the unusual move of choosing a pair of DJs, rather than any bands, to play a support set. The two pink-jacketed ladies knew their audience, playing a mixture of 90s pop and classic rock tunes (as well as the obligatory ‘Smells Like Teen Spirit’) which pleased most, if not all, of the crowd.

As is usually the case though, what the crowd really wanted was Fall Out Boy. Word to the wise: if you thought being in a hardcore band’s mosh pit was hard, trying being in a pit with packs of 20 year old youths who haven’t seen their favourite band together in years. There was a distinct lack of pit etiquette from many of the gig-goers, and one group of girls was so rough that I ended up on the floor having a panic attack. Good times.

If the waiting was hard enough, hearing the opening notes of ‘Thriller’ was ridiculous. As one, the audience lurched forward, and from then on, the pit was a surging, thrashing beast, united in their adulation. The band was in fine form – bassist Pete Wentz had his usual cocky grin on as he played to the adoring audience, and Pat Stump had a jaunty hat on his head. Their voices as they bantered were slightly amused – not surprising when everything they said was greeted with excited cheering.

FOB records phoneixnewtimes.com

Being thrown around in the screaming pit, one gets the impression that if the quartet had come on stage wearing pajamas, playing bongos and strumming sticks instead of guitars, most of the crowd would have reacted in exactly the same way.

Regardless, they put on a hell of a show, burning through their greatest hits, including ‘Sophomore Slump or Comeback of the Year’, ‘I Don’t Care’, ‘This Ain’t A Scene, It’s An Arms Race’, ‘Sugar, We’re Goin Down’, and of course, what Wentz and Stump referred to as both America and Australia’s “national anthem”: ‘Grand Theft Autumn/Where Is Your Boy’. They were still a bit rusty, as evidenced by Stump’s slip-up in the chorus of ‘Dance, Dance’, which he laughed off after the song.

Still, all of the boys were on fine form, even if at times the vocals were buried under the instrumental. ‘What a Catch, Donnie’ in particular was quite stirring, with a starry sky effect thrown against the ceiling and the audience members lining the balconies.

They wrapped the show with vowel-deprived encore song ‘Thnks fr th Mmrs’, sending the crowd into a frenzy.

The crowds packing the sold out theatre knew it all, including the cover of Michael Jackson’s ‘Beat It’, and ‘My Songs Know What You Did in the Dark’, the first single from their brand new album, Save Rock and Roll.

That title might strike some as a bit presumptuous from a band labelled as a “emo/pop/punk” band, but the fact remains that each of the band members are very talented as musicians, and know how to put on a show. Time will only tell if Fall Out Boy can save rock and roll, but for the time being, they seem to be content with rocking Melbourne.

Save Rock and Roll

 

Courtesy of tonedeaf.com.au

2 Comments

  1. 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.

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