Panic! at the Disco Heats Up a Capacity Crowd at the Q

Concert Review

click to enlarge Panic! at the Disco Heats Up a Capacity Crowd at the Q
Amber Patrick
Despite the Polar Vortex, fans of Panic! at the Disco came out in droves to attend the Cleveland stop of the Pray for the Wicked tour that came to Quicken Loans Arena last night.

The band, fronted by Brendon Urie, kept the crowd dancing and singing along through a 28-song set that spanned the band's nearly 15-year career.

You can see a slideshow of photos from the concert here.

The bar was set high from the first few moments PATD was onstage as Urie rose from the floor, appeared to jump nearly double his own height and catapulted into the tune "(Fuck A) Silver Lining."

The seasoned performer made it look easy as he slipped effortlessly between a rich tenor and a boisterous falsetto that highlighted his expansive three-and-a-half octave range while never skipping a beat, notably on "Casual Affair." In fact, it was as if Urie never stopped moving; he danced seamlessly around the stage and enchanted every instrument he touched along the way whether that was a guitar, piano or a drum set that he banged on between "Miss Jackson" and "Roaring 20s."

In a generation of Auto-Tune and bland pop, Urie rises to the top with unmatched showmanship and vocal prowess. Even when he tipped his hat to other artists by covering their tunes — Bonnie Raitt's "I Can't Make You Love Me," Queen's "Bohemian Rhapsody" and The Greatest Showman's "The Greatest Show" — he imbued fresh life into the songs while respectfully paying homage.

Surpassing P.T. Barnum himself, Panic! put on several displays of Urie’s dramatic flair for extravagance. Floating through the air on a heavenly white piano while simultaneously weaving “I Can’t Make You Love Me” into “Dying in LA,” draping himself in the various flags of the LGBTQ+ communities while rainbow confetti rained from the sky during “Girls/Girls/Boys” and dancing amidst a fog machine-induced layer of clouds during “King of the Clouds,” Urie took an inventive approach to performing.

Opener Two Feet left much to be desired and relied too heavily on the appearance of his trippy lighting to make his bland electro-pop hit.

Betty Who began the show with big energy during a 30-minute set, but she couldn't keep her vocals strong as she danced across the stage.

But then again, you'd be hard-pressed to find openers that could keep up with Urie and crew.