Brendon burns up Blighty stage, Urie-In for a treat-
It has almost been a week since Brendon Urie quite literally bounced onto the O2 Arena stage in London on the 28th March, the first sold-out London stop on the Europe leg of the Pray for the Wicked tour, where a second date was added due to popular demand.
Arriving at the venue for when the doors opened at 6:30pm sharp, I wanted to soak in the atmosphere and make the most of this opportunity, enjoying the warm-up acts rock and electropop band A R I Z O N A, shortly followed by Indie, electropop artist MØ.
As MØ excitably skipped off stage, a countdown flashed up on the huge LED screen. An eight-minute ticking timebomb until I’d see Panic! in the flesh, accompanied by Toto’s Africa while we waited.
The crowd chanted the ten second final countdown, as the dim arena lighting faded to pitch black and the triangle shaped exclamation mark embossed stage illuminated purple. Screams and cries resounded, though this mainly consisted of my own pitchy pterodactyl call wailing into the abyss, as the opening mumbled chatter to (Fuck A) Silver Lining echoed overhead.
Of course Urie would open the show with a bang.
When I mentioned that Urie ‘quite literally’ bounced onto stage, I actually mean that he flew. In fact, he leapt up almost comically from a rising platform under the stage, in what I’d describe as a punchy, cocktail burst of dazzling silver confetti, suave style and sick vocals. It was as if he had springs fastened to the soles of his shoes.
I always knew Mr Urie was renowned for being a bundle of energy, but as soon as he leapt into view, I knew I was facing an explosive firecracker of a performer. Just the opening song alone showcased Urie’s incredibly wide vocal range, as if he’d eaten CD cereal for breakfast.
Not only was he an electric performer, but clearly an authentic, autotune avoider.
The show was most certainly underway, as Sinners were treated to a feast of songs from not only Pray For The Wicked, but also: Death Of A Bachelor, Too Weird To Live Too Rare To Die!, and even a few songs from Vices & Virtues, Pretty. Odd. and A Fever You Can’t Sweat Out from the early Panic! days, when Brendon shared the spotlight with members Brent Wilson, Ryan Ross, Jon Walker, Spencer Smith and Dallon Weekes.
The first half of the show kicked off with a fast-pace carousel of the classic well-known bangers that even newbie Sinners could chant and sing along to. Highlights including: Don’t Threaten Me With a Good Time, Hey Look Ma, I Made It, Hallelujah and my personal favourite from the Pray For The Wicked album, Dancing’s Not A Crime. Urie brought the poppy alternative track alive with his flamboyant, funky moves which certainly did not offend the masses gathered at the O2 arena – who could possibly be embarrassed by the moves of Panic!’s main man?
After Urie’s grand guitar work during This Is Gospel, little did I know it was already half way through the show. The setlist then took a melancholy turn, starting with the mellow yet sophisticated Death Of A Bachelor. Urie headed into the pit to interact face-to-face with many lucky Sinners, who’d most likely queued in standing line from 6am for that precious, prized handshake. Even with my level 1 view of the stage, seeing Sinners freak out on the big screens didn’t stop me from vocalising my jealousy-
Urie then took a much needed pew at a large titanium white grand piano much closer to my section. He began to play I Can’t Make You Love Me, a Bonnie Raitt cover where before he recalled the days when his Mother would try to teach him piano at age 6, this song he reminisced: “reminds me of home.” This cover then transitioned into the final song on the Pray For The Wicked album, Dying in LA. The entire arena lit up like glimmering constellations in the starry night sky, as Urie ascended skyward, floating peacefully around the arena. The health and safety conscious Brit side of my brain consumed me, as where he stood on the tiny platform in the heavens, it teetered, and I couldn’t spot a safety harness attached to him. Perhaps my seat simply wasn’t close enough to notice.
Not only were Urie’s vocals and array of musical talents showcased that night, but also the sensational pyrotechnics and impressive lighting, where lasers danced and lightening strobes flashed wildly. Sinners also contributed to the stunning lighting effects, organising a rainbow ocean of lights during LGBTQ+ anthem Girls/Girls/Boys.
I knew the 28 piece setlist would be drawing to a close soon, as Miss Jackson lit up the stage with an extended interval half way through the song, where Urie absolutely smashed an, excuse the pun, ‘wicked’ drum solo. Is there any instrument this man can’t handle? Not to mention topping it all off with what I’d like to call a ‘Brendon backflip.’
Finally the encore was upon us, consisting of the three iconic tracks Say Amen (Saturday Night), I Write Sins Not Tragedies and Victorious. I Write Sins Not Tragedies was undoubtedly the most memorable song of the night. I was conflicted the entire show, itching to hear the classic track which arguably catapulted the group to fame, whilst simultaneously wishing for it never to come, as this signified the show’s closure. Screaming the iconic lyrics back at Brendon in unison with other Sinners never felt so sweet.
As Victorious closed the show, rapturous applause lifted the roof off of the O2 Arena.
From emo pop punk pioneers of the early 2000’s, to the prince of reinventing pop rock, there is no genre Urie can’t cover, nor note he can’t hit. I for one am excited to see Panic!’s long reign in the future, showered in success and conquering the charts again and again. I guess you could say I most certainly have High Hopes for Panic!