Firebird, St. Louis
Note: I wanted to share my review of Twenty One Pilots from their 2012 show at the Firebird in St. Louis, MO. Seeing how far this band has come in just five years gives some perspective.
Twenty One Pilots fully encompassed every inch of the Firebird on a cold Wednesday night in St. Louis. Over an hour before the doors opened, hundreds of fans lined up outside for the sold-out show. Once doors opened, they did not move an inch as the headliners as well as the openers from Denmark, New Politics, took the stage.
New Politics, having previously played the Firebird, seemed extremely impressed looking at the large crowd that had filled in. The band from Copenhagen played through the majority of their first album in their short set and kept the crowd in it with a mix of fun pop-rock and rap, as well as a brief look into Euro-style break dancing by lead vocalist David Boyd.
The band played well with the ladies in the crowd, and given their (supposedly) not self-given doppelganger appointed looks, this was no surprise. Boyd proclaimed he was the James Franco of the group, with guitarist Soren Hansen playing the part of Kurt Cobain and drummer Louis Vecchio as Adam Levine.
All dancing and looks aside, the band put on a seriously awesome performance that left the crowd wanting more and looking forward to their upcoming album. New single “Harlem,” which is not related to the current “Harlem Shake” fad, gave a good sneak peek into the sound of the new album and got the crowd pumped up for the Ohioan headliners.
Twenty One Pilots—consisting of lead singer/pianist Tyler Joseph and drummer Joshua Dun—have jumped into the public eye since their December set at Peabody Opera House opening for fun. and The Joy Formidable. They scored a record deal with Atlantic subsidiary Fueled by Ramen a year ago, and now receive heavy radio play on alternative rock stations.
The duo quickly got the crowd moving, taking the stage in hoodies that fully covered their faces with the first song off their new album Vessel, “Ode to Sleep.” The song owes its intro to alternative bands like Hollywood Undead and further-reaching ’90s rap-rock, but quickly dives into a much more piano-pop friendly demeanor that takes over the rest of the night.
Seeming almost shocked by the crowd singing to every word and his every movement, Joseph had to take almost a full minute in between ukulele-featuring songs “Screen” and “House of Gold.” He proclaimed that every member of the crowd was a member of the band, though later in the show he admitted it felt a bit as if “you guys chased us around town all day, finally got us cornered and made us perform for you.”
Part of that awkward, uncomfortable feeling of watching a band discover its newfound fame is fun in itself. This is only amplified by an awareness that the next time they come through town will be at a much larger venue, losing some of that intimate feeling of a band personally expressing its appreciation.
Joseph spouts lyrics about depression that appeal to a new generation, while also bringing everyone together to say “remember this moment, when you and the other people in the room experienced this together, and how happy you are.” That group mentality is what drives fans to line up in the cold to get closer, and develops a near cult-like devotion. Alternative bands like 30 Seconds to Mars and My Chemical Romance have developed this so wonderfully by bringing the “broken people” together, as everyone in the crowd sings, lifting them all. | Bruce Matlock