Alexandra Palace 20th November
When I heard from my housemate that she was seeing Panic a couple months ago, I’m not afraid to admit that I was jealous. I still remember when I heard ‘Ready to Go’ for the first time 5 years ago, and since then, I have been hooked. So when I found out that there were a handful of last minute tickets being sold 4 days before the gig, I couldn’t help and grab one for myself and prep for the last night of the UK stretch of their European tour.
Panic is one of those bands that I feel a lot of other people my age can relate to. There are a lot of us who went through the early teen period of our life where we were try hard and die hard emo/pop punk kids, which has led us to the inner emo/punk 20 year olds within us today.
I must admit, the night was all about Panic; I’m not even sure where to begin with how incredible the night was. After a trip to the Wood Green Spoons, and another pint of cider in hand, we caught the end of the support acts stint on stage. It was my first trip to the infamous Ally Pally, and I was excited already. As soon as the support act walked off the stage, you could feel the excitement grow; it felt like something special was going to happen on what could’ve been an average Sunday evening.
As soon as the lights dim, everyone knows what’s going to happen; the inevitable push, shove, and the screaming begins. Panic opened with Don’t Threaten Me with a Good Time, a song off the title album of the tour ‘Death of a Bachelor’. Taking a step back from the gig itself, this album could be my favourite of theirs, I would honestly struggle to name a bad song on the entire album. As a band heavily influenced by the Beatles, the Zombies, Queen, Frank Sinatra and the Beach Boys, these influences really come through on their latest album. Death of a Bachelor was also Panic’s first number one album, which is well deserved. The album truly does carry a sense of a flamboyance, confidence, as well as a sense of glam and glitter. Although there are moments which capture the teenage sense of ‘brattiness’, overall, this album is really a work of great song-writing.
Brendon Urie is a phenomenal singer; I thought this when I saw Panic perform at Reading festival in 2014 when they performed Bohemian Rhapsody for one of the first times. It was with such a brilliant performance live of their own tracks, plus that of Queen’s. I think I will forever stand by my words in saying that this band is the only band doing Queen justice, they have been the only band I have heard to date to have taken on that song and performed it so well.
For the Panic fans who weren’t there, Miss Jackson was crazy; probably the best performance I’ve heard them, comparing this with Reading festival, and various YouTube performances I’ve heard. I’m not sure what it is that makes this song so popular, and so good to listen to; maybe it’s the anthem-like nature of the song, or maybe the fact it really sums up the feeling of the band, where they write songs about personal, fictitious or life in Vegas. Or maybe it’s because, there’s a lot of people who have been messed with by both genders, and this song isn’t inherently sad.
As all good things do however, the night came to an end before any of us wanted to leave; I think we could have all listened to Panic perform for hours more. Starting the encore with ‘I Write Sins Not Tragedies’, followed by ‘This is Gospel’ and the final song of the night ‘Victorious’, it was one of the best encores I’ve heard.
Many people must think I’m crazy because of the number of gigs I have been to now, I’ve probably seen over 30 bands at gigs aside from festivals, but I can’t help but say that the teenage dream in me was so excited and happy after getting the chance to see Panic! at the Disco for a second time. If you haven’t listened to Panic before, I couldn’t recommend more that you listen to their latest album ‘Death of a Bachelor’, it’s on YouTube, it’s on Spotify, it’s on iTunes/Apple Music, and I can honestly say, I think you’ll fall in love.
Text and photos by Olivia Mitchell
Picture research by Jonathan W. Espiritu; featured image by Jake Chamseddine.