Austin – Twenty One Pilots has cultivated a reputation for putting on enthralling live shows, and on Saturday, this reputation was put to the test. Consisting of vocalist/pianist Tyler Joseph and drummer/keyboardist Josh Dun, the young duo managed to sell out their show at Emo’s, which is certainly no small achievement for a new band. However, they refused to take this achievement for granted and the concert proved to be an unforgettable experience.
Twenty One Pilots fuses together pop rock, rap, and electronic music to create chantable anthems that are surprisingly provocative. On their latest album, “Vessel”, the pair manages to create dance-friendly melodies that actually have staying power.
Though a band with a fan base this eager and wide-eyed could have easily gotten away with a less energized performance, it was clear that the pair prided themselves on never letting a moment become dull. Sporting ski masks and skeleton costumes, these guys went out of their way to ensure the audience’s satisfaction. Never once diverting his attention from the crowd, Joseph captivated the audience with stories from his past and suggestions for the future. One minute he would be on top of the piano while the next would find him crouching by the drum set.
The two kicked off the set with a heartfelt delivery of “Fake You Out” while wearing said ski masks, a wardrobe choice that effectively bolstered both their air of mystery, and the anticipation of the crowd. But it was the dynamic “Ode to Sleep” that truly got the show started. It was startling how much sound and energy a mere group of two could emit.
The biggest spectacle of the evening came with the performance of “Semi-Automatic”. With the help of the Emo’s security staff, a platform was placed on top of the center of the crowd, a full drum set was put on top of the platform, and then—wait for it—Dun crawled onto the platform and continued drumming as naturally and as fervently as he had when he was on stage.
However, it was the words “Car Radio” that truly sent the audience into a frenzy. Joseph was nearly inaudible as the choir of devotees sang along to every word.
Challenging the entire audience to go shirtless, the two closed their pre-encore set with the undeniably catchy “Guns for Hands”. This dance-pop gem had the entire room dancing/jumping/screaming as no one was spared from the fever that had begun to spread courtesy of the almost manic drumming of Dun.
As the song neared its end, two snare drums were curiously placed in the middle of the stage and the two began a kind of synchronized drumming routine. And as if having one drummer play on top of a crowd wasn’t enough of a feat, the platform was brought back out, only this time both Joseph and Dun climbed aboard. With their snare drums in tow, the two finished their performance on a makeshift stage created by fans and what appeared to be a sheet of plywood.
After making their way off and on the stage for their encore, the two played a beautifully orchestrated combination of the songs, “Truce” and “Trees”, that left some of the audience members in tears. And as they said their goodbyes, the room was filled with a sense of completion and the knowledge that a better live performance didn’t exist.
While it was clear the show was over and fans reluctantly made their way to the door, a feeling of exhilaration lingered in the air. I began to understand the intricacies behind the band’s growing popularity. What makes Twenty One Pilots so memorable is that they possess the ability to make people remember why they love live music, and there is no doubt that fans and cynics alike will continue to be drawn to them because of it.
Ruth Griffin
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