Fall Out Boy took the stage at the Xfinity Center in Mansfield, MA on June 22, 2014 - the third date of the Monumentour, their co-headlining run with Paramore - to the sound of Sylvester Stallone's monologue from Rocky Balboa. It was a fitting entrance; if anyone knows about getting hit and moving forward, it's Fall Out Boy. Since returning from their hiatus with a surprise album last year, the band has been rejuvenated.
Now, the Chicago quartet are playing some of the biggest shows of their career. They sounded massive in the huge amphitheater, yet their performance exhibited the same energy as when they played small clubs a decade ago - only now they're accompanied by pyrotechnics.
Since the tour is support of Save Rock and Roll, the setlist was made up of selections from the album and their past hits. I would have loved for more deep cuts, but I don't blame them going with the crowd pleasures for such a big tour. (As it was, a good portion of the audience seemed unfamiliar with the Take This To Your Grave material.)
Although the song selection was fairly predictable, the band mixed things up mid-set. First, vocalist/guitarist Patrick Stump and drummer Andy Hurley engaged in a drum off. Stump's solo showed some impressive chops for a frontman, but Hurley demonstrated while he's the one behind the kit. Meanwhile, bassist Pete Wentz and guitarist Joe Trohman made their way through the crowd, instruments and all, and up to the soundboard, where they remained to play "Dance Dance." As they made their way back to the stage, Stump kicked off "Young Volcanoes" acoustically.
The band invited Lolo (known for her guest spot on Panic! At The Disco's "Miss Jackson"), who also joined openers New Politics earlier in the night, onto the stage to accompany Stump on "Just One Yesterday." They also covered a portion of Queen's "We Are the Champions," which was "for the dads," as Wentz put it. Ultimately, group closed with "Saturday" as a shower of pyros rained down on them.
Fall Out Boy had big shoes to fill following Paramore's explosive performance. Vocalist Hayley Williams took the stage sporting a new teal hairdo as an explosion of streamers covered the eager crowd during opener "Still Into You." Williams was joined by her cohorts - guitarist Taylor York and bassist Jeremy Davis - on the stage, while longtime touring guitarists Jon Howard and Jutin York and recently recruited fill-in drummer Aaron Gillespie (of Underoath fame) sat atop a large platform above them.
"This is our tenth year as a band," Williams gushed. "I don't know how that happened." Despite the line-up changes and platinum status, Paramore is still the same band it was a decade ago. The stage may have grown exponentially, but everyone in the venue - from the pit to the cheap seats - felt like they were part of the show. A highlight of the set came when Williams picked a pair of sisters to join the band on stage to sing the bridge of "Misery Business" - and they nailed it.
While Fall Out Boy had pyro, Paramore's festive weapon of choice was confetti and streamers. During the rousing closer "Ain't It Fun," giant balloons emblazoned with the Paramore logo were batted into the audience. The band kicked them back and forth with the crowd with performing. After the song, the six musicians came together to take a bow for their adoring fans.
Danish trio New Politics opened the show. Vocalist David Boyd kicked off the set with a back flip, and his energy remained high for their half hour in the spotlight. Later in the set, he made his way on top of the crowd to sing. The group already has two hits with "Harlem" and "Yeah Yeah Yeah," along with a freshly-inked deal with Wentz' DCD2 Records, so this tour is an excellent way to expose fans to the rest of their material.
During Fall Out Boy's set, Wentz commented about how cool it is to have two rock bands with guitars that are played on the radio on tour together. Indeed, the Monumentour pairs two of our scene's biggest acts into one package. With dynamic, 75-minute sets from each band, fans of both are guaranteed to leave pleased. Maybe Save Rock and Roll was not, as naysayers purported, such a pretentious title after all.