A yellow hued illusionary of sorcerer style stunts, thrilling theatrics and a stylistically genre defying setlist. US two piece Twenty One Pilots’ second Wembley sell out, showcased a dynamically dominating duo appealing to the arena worthy masses. Cultivated from the organic homegrown minuscule crowds of Columbus shows to conquering colossal clique cohorts, with an enthrallingly explosive endeavour. 

Wordlessly wondering onto the blazing backdrop of a burnt out car adorned arrangement, Josh Dun surfaces from the depths of darkness head hooded in a yellow garnished getup fire lit torch held aloft. Besides a balaclava bedecked Tyler Joseph, perched atop of the perished Blurryface/‘Trench’ era vehicle, the duoship drift out of obscure Dema to silently spur on the Columbus cohorts maniacal setlist. 

Instigator ‘Jumpsuit’ bursts into a raving rampage of boldly bass driven lines, that lure people in the pit into performing a cult hand holding ritual, that reminisced upon the openers placid paced bridge. A tranquil trance broken by the seamless sweep into rhythmically sleek ‘Levitate’, left the skeleton clique lavishing in Josephs enigmatic rap mastery. 

Temerity for the theatrics allowed an abundance of audaciously executed Dynamo x David Blane jaw dropping defiances. Dramatically dropping into a dark descent, Joseph ascended to the top tiered level of the vast venue in ‘Blurryface‘ feature ‘Fairly Local’. Psychedelic production prevailed, amidst a piano tinged digitally distorted box office buster ‘Heathens’. Spewing smoke cannons, a synonymous ode to ‘Lane Boy’ catapulted a creatively free front man spring boarding atop over a piano to perform a daring and dangerous assault. Climbing a vertical podium to its climactic point in ‘Vessel’ venture ‘Car Radio’ reflected Tyler’s rampaging masked identity, to the last in a long line of theatrically immersive feats, euphoric ‘Nico And The Niners’ central lighting rig crossed over the people in the pit to whom beheld a branded Papa John’s box, defaced to be a rejuvenated Papa Josh placard. 

Melodic B stage ballads ‘Bandito’ following ‘Neon Gravestones’, grounded the touring twosome under the haze of an icicle esque chandelier. Keeping Columbus close as a sense of home beckons in the former teaming of ‘Trench’ tracks, electro echoes engulfed the arty atmosphere as Joseph acts out the latters socially emotional elegy via the medium of mime, momentarily lingering out the sonic lull. Summoning the stage crossover like an ascent to a yellow hued heaven, hauled into ‘Pet Cheetah’ prowling introduction prior to pouncing into roaring verses, as Dun stripped back to display his enchantingly toned torso. 

Meddling within the sporadic soundscape of the duo’s discography, outwardly attributed to Tyler Joseph’s perverse musical palette. Trendy top forty pop pick ‘My Blood’ disco deemed instrumentation coaxed collective conga lines, fusion reggae renderings ‘Cut My Lip’ and ‘Ride’ relished in a state of band to crowd resounding relaxation, alt folk wonder ‘We Don’t Believe What’s on TV’ fronted Joseph’s floral flannel shirts and a wholesomely white shade wearing ukulele strummer beside Dun’s trumpet tooting to rap rock success sensation ‘Stressed Out’ slow whirring nostalgia. 

Climaxing to a compelling conclusion, entering encore editions ‘Chlorine’ chemically captivating anthemic chorus’, ‘Leave The City’ serene mountainous shadows and traditional tour lore ‘Trees’ frenzied drum smashing anarchy, finished in a flurried haze of glistening gold confetti, in the seam of Tyler Joseph and Josh Dun’s signature statement sign off “We’re Twenty One Pilots and so are you”.

Did any of you Skeleton Clique show up to TØP’s tour? Create a comment!

Get tickets to Twenty One Pilots’ ‘Bandito’ Tour here: 

Twenty One Pilots – The ‘Bandito’ Tour

Katie Conway-Flood
Katie Conway-Flood

One Fall Out At The Disco is a music-based blog instigated by Katie, a band enthusiast and music business student.

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