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Fall Out Boy, known for their intense riffs and lengthy song titles, rose to fame during the MySpace era of the 2000s along with other successful American pop-punk bands like Paramore, My Chemical Romance, and Panic! at the Disco. While their evolving music has incorporated elements of R&B, electronica, and glam rock throughout the past 20 years, their latest album So Much (for) Stardust strikes a balance between these genres and caters to the current trend of nostalgia for “elder emo” music.
The opening night of Love From the Other Side is slightly disrupted by a medical emergency in the front row. However, once the show begins, it is evident that Fall Out Boy has fully grasped their mission. It is rare for a two-hour rock concert to not have standout moments (This Ain’t a Scene, It’s an Arms Race comes close to inducing a mass arena frenzy), but by mixing popular hits with lesser-known songs from their eight albums, the band successfully pleases the diverse audience. People of all ages in the crowd remain only a few songs away from encountering their favorite era, creating a constant buzz of excitement and satisfaction that is expressed through sporadic screams. The older fans seem to enjoy the most, as Pete Wentz jokes, “That was an old one; this is another,” before launching into a rousing singalong of the 2003 emo classic Grand Theft Autumn/Where Is Your Boy, which somehow manages to transcend age barriers.
Over time, there has been a lot of discussion about Wentz’s roles in Fall Out Boy as the bassist, lyricist, and charismatic member. He is known for his use of a Kiss-worthy flamethrower bass, his performances inside a giant animatronic dog head on stage, and his ability to disappear behind a curtain and reappear in the rafters. However, without Patrick Stump, the shy and soulful lead singer, Fall Out Boy would not have their most enduring strength. Stump’s vocals are versatile and stand out in songs like “Hold Me Like a Grudge” with its wedding-disco funk, “A Weekend at Pete Rose’s (Headfirst Slide Into Cooperstown on a Bad Bet)” with Broadway-style hollering, and “Dance, Dance” with its smooth transition between spoken-word and falsetto. His vocal range adds depth to the band and gives them their unique character and style. By learning how to bend the rules of rock while staying true to their essence, Fall Out Boy continues to gain new fans and explore different genres.
Source: theguardian.com
