Brendon Urie

Is There Anything Panic! at the Disco Can’t Do?

“We’ve never done that before!” said Brendon Urie of Panic! at the Disco.

This is the same Brendon Urie who, about two hours earlier, had entered the arena by catapulting several feet skyward via a hydraulic powered “human toaster,” singing the lyric, “Fuck a silver lining.” The same one who floated above the crowd playing a flying piano, performing a mashup of Bonnie Raitt’s “I Can’t Make You Love Me” and Panic! at the Disco’s “Dying in L.A.” The one that inspired an international fan-orchestrated display of equality and acceptance. And yep, the same Brendon Urie who loves to dance dangerously close to a concerning amount of pyrotechnics.

And yet, Tuesday night’s show before nearly 20,000 screaming fans at Oakland’s Oracle Arena included one first. During the second-to-last song, the much anticipated performance of Panic!’s first hit, “I Write Sins Not Tragedies,” Urie plucked five fans from the audience and brought them onstage to sing the first verse with him. “I love you!” he shouted at them shouting at him, as all six sang their way through the emo-pop anthem in varying states of smiley, stunned disbelief (Urie included).

As the chorus kicked in, Urie reclaimed control of the stage and seamlessly transitioned back into his role as Panic!’s ringleader. As the sole remaining permanent member of the band, Urie’s not only single-handedly kept the Panic! fandom alive, but thriving. Since the 2005 release of their debut, A Fever You Can’t Sweat Out, lineup changes, shake-ups, and departures have threatened to derail and dismantle Panic!, but Urie never let that happen. And now, as the multi-talented musician — during the night, he played guitar, drums, sang, and performed a signature perfect backflip — wraps up his 10th headlining tour, his passion is still palpable, from that first explosive moment of the Pray for the Wicked stage show to the closing chorus of the aptly-titled triumph song, “Victorious.”

This was the penultimate performance in the Pray for the Wicked Tour’s second U.S. leg. Urie and company (traveling guitarist Mike Naran, bassist Nicole Row, and drummer Dan Pawlovich) hit San Jose back in August, but in those few months, Panic! has refreshed and revamped the production enough to keep things exciting for returning crowds. The setlist addition of fan-favorite “Roaring 20s” was one new twist that triggered deafening screams as Gatsby-era visuals accompanied Urie’s Broadway-inspired anthem influenced by his 2017 run in Kinky Boots. The band also swapped out one cover for another, replacing Cyndi Lauper’s iconic “Girls Just Wanna Have Fun” with “The Greatest Show,” Panic!’s contribution to The Greatest Showman movie tribute album.  

Karaoke time with Brendon Urie! (Michelle Konstantinovsky)

What’s remained consistent this tour is the grand scale of Panic!’s production that’s somehow packaged and delivered in a way that feels as intimate as an arena show possibly can. In addition to Naran, Row, and Pavlovich, Urie is joined onstage by The Wicked Strings and The Horny Boys, independent trios of string and horn players who’ve added a extra theatricality to Panic!’s tour presence.

But even with the added oomph of musical accompaniment, Urie manages to make the audience feel seen. During his infamous “Death Walk,” he strolls through the aisles, hugging and shaking hands while belting out 2016’s “Death of a Bachelor.” He talks to the mostly young crowd about the statistical unlikeliness of their existence (“the fact that any of us were born is astronomically insane — you had to race millions of other tadpoles and you got first place, so you’re already a winner”). And of course, as he did last night, he occasionally invites a few frenzied fans onstage to sing the hit that kicked off his career (potentially when some of these starstruck singers were still in diapers).

But while Panic! could have easily rested on the success that “Sins” brought 14 years ago, Urie’s dedication to artistic evolution and personal growth has taken his band through six studio albums and newfound milestones — last year’s “High Hopes” recently surpassed ”Sins” as Panic!’s most-streamed song. And it’s exciting to imagine what could come next when a performer with every right to show signs of fatigue is only getting more fired up with every song, album, and heartfelt singalong. As Panic! wraps up the Pray for the Wicked era overseas, it’s almost certain something even more epic could be on the way.

The 5 Best Panic! at the Disco Remixes

DJs often liken their sets to journeys, but Panic! at the Disco's catalog is a rare, true case of epic progression. It started as a four-piece band with roots in las Vegas. Their debut album, A Fever You Can't Sweat Out, was released in 2005 and rode its lead single “I Write Sins Not Tragedies” into double-platinum status. Singer Brendon Urie's powerful vocals and wit-dripping lyrics shone over crunchy guitars and driving drums, marking the band as an emo generation pop-crossover favorite.

The band then underwent wild transformations in sound and lineup. It went from a four-piece to a trio, to a duo and eventually settled on its current form in 2016, where Urie is the only official member. He's grown into a modern-day crooner with sensuality and swagger. He's cool and explosive over booming horns and exciting electronics, and his music has made him a perfect subject for remixes. Below, we honor some of our favorite dance reworks of Panic! at the Disco, from the old to the new school and back again.

Panic! at the Disco - “Say Amen (Saturday Night)” (Sweater Beats Remix)

From 2018's Pray for the Wicked, “Say Amen (Saturday Night) is a quirky, danceable tune centered on some exotic vocal samples and Panic!'s signature horn pops. Rn'Beat darling Sweater Beats gives it a bass-heavy, dubsteppy take that keeps its pop sheen but adds plenty of edge.

Panic! at the Disco - “High Hopes” (Don Diablo Remix)

“High Hopes” has become Panic!'s biggest hit to date, and the Pray for the Wicked smash gets a warm, sparkling remix from future house father Don Diablo. The already-inspiring melody shoots high with soulful piano leads and punchy percussion. It's a great way to boogie into destiny.

Panic! at the Disco - “High Hopes” (Two Friends Remix)

Two Friends also tries its hand at “High Hopes.” This remix is a sped-up dance-pop boomer. High energy crashes over hand claps and “hey” chants, while Urie's mighty voice rings loud and proud. It's the cut-and-paste future bass hook that pushes this remix over the edge, so give that a proper ride.

Panic! at the Disco - “Death of a Bachelor” (Sodahedd Remix)

“Death of a Bachelor” from 2016's album of the same name was Urie's big reveal as a solo act and the introduction of his absolute wonder as a crooner. This remix from Sodahedd honors that classic quality and adds some future bass wonks for good magical measure.

Panic! at the Disco - “I Write Sins Not Tragedies” (Kasum Remix)

We've got to represent the door-opening classic, and Kasum's take on “I Write Sins Not Tragedies” is one of the most popular Panic! At The Disco remixes on the internet. He adds big room house theatrics to the already cinematic hit.

Concert Review: Panic! at the Disco Brings Theatrical Flair to Forum

At one particularly crowd-pleasing point during Panic! at the Disco’s show Friday at the Forum, Brendon Urie played the group’s cover of one of the “Greatest Showman” songs, from the recent tribute album devoted to that film, and it’s not hard to see why he would gravitate to the musical.

Urie’s so much of a showman in every sense of the word that sometimes this Los Angeles arena stop on the band’s “Pray for the Wicked” tour felt like a circus, too. But through psychedelic light shows and major stage theatrics, Urie remained an ever-capable ringmaster, showing off and showing why he’s got the charisma, musical talent and stamina to be one of music’s longest-lasting leading men.

Urie started the show by jumping out from the floor, kicking off a fast-moving show with “(F— a) Silver Lining.” From there, he played nearly all of the group’s latest album, while sprinkling in surprising deep cuts like “Ready to Go” and “Casual Affair.” He barely addressed the audience in the concert’s first act, but that didn’t make it impersonal. He let loose on songs like “Hey Look Ma, I Made It” and “Dancing’s Not a Crime,” and even when he’s slightly uncoordinated, his joy is infectious — look no further than the ever-fluid crowd for proof.

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He did get more personal, though, after the concert’s first hour — and, somehow, more theatrical. For “Death of a Bachelor,” he got down in the crowd to walk through and personally shake hands while accepting some Valentine’s Day roses. It was a charming moment as, during the song’s percussion break, he took time to thank individuals for coming out. From there, he transitioned to perhaps the most memorable part of the show.

Taking to a white piano near the back of the Forum, he shared an anecdote about having an aversion to learning how to play the instrument as a child, but knowing he’d be more receptive to playing songs that he actually liked. He then launched into a rendition of Bonnie Raitt’s “I Can’t Make You Love Me” as the platform he and the piano were on lifted up toward the ceiling, floating across the auditorium as he transitioned into his own “Dying in L.A.” It was perhaps the highlight, and certainly the most personal moment, of the show, offering a breathtaking display as Urie’s small floating stage was brightened by the lights of hundreds of cell phones.

Audience participation played a strong role in another one of the show’s standout moments. Upon finding their seats, ticket-buyers could find a heart-shaped message instructing them to shine their phone’s flashlight during “Girls/Girls/Boys,” which has taken on a life of its own as a celebration of bisexuality, as part of #PATDhearts, a fan-created movement aimed at promoting unity and acceptance. When Urie played the song shortly after getting back to the stage, fans followed the instructions, lighting up the stadium with lights of all colors as Urie donned a rainbow cape and diverse faces and the word “Love” flashed on the screen behind him. It was a powerful moment, and Urie took the time after to acknowledge those who might be bullied or marginalized. “You do belong,” he told the crowd.

Later, he played Queen’s classic “Bohemian Rhapsody,” which isn’t a new stunt, as he acknowledged. The band has been playing the song live ever since recording a cover for the “Suicide Squad” soundtrack. But since the Queen biopic named after the operatic hit found major success at the box office and awards circuit, it had a new resonance — or at least the younger set of fans might have been better able to sing along. And there’s no doubt that Urie has the vocal chops that would likely impress Freddie Mercury himself. Throughout the entire concert, he experimented with everything from astonishing falsettos to guttural growls, showing off a incredibly wide vocal range and a practiced control over it.

Urie, whether he was strutting or pausing to let loose on the drums, could easily anchor the concert without all the smoke and mirrors. But that doesn’t mean the stage set-up wasn’t gorgeous. The stage, in the shape of his “Pray for the Wicked” triangle, came to life often, allowing Urie to lift up from and descend down into for easy transitions. It was a sensory overload, and there was always something to look at. That includes his band: bassist Nicole Row and guitarist Mike Naran ooze cool and played off each other and the crowd, often leading the stage while Urie was gone between songs. Even the percussion sections had simple choreographed moves at certain points.

It’s worth noting that Urie largely stayed away from his earliest music — except, of course, “I Write Sins Not Tragedies,” the song that catapulted Panic! into Warped Tour superstardom. If Urie’s tired of playing the hit, it’d be understandable. But he turned it into a moment of gratitude, reflecting on pretending to be a rock star in front of the mirror as a child to the tune of Blink 182’s “All the Small Things.”

“To be here now, you know, as like a rock star, you’re not supposed to get all sentimental and tear up a little bit — but I get a little bit choked, and it’s very cool, and it’s all because you guys let me live the dream,” he said, launching into “I Write Sins” as the song “that got it all started for Panic!”

It was the penultimate song, as Urie ended with “Victorious,” which was quite fitting. The show, as Urie played his new songs and seemed to have a ball, came across as a victory lap for the musician. And after Friday night’s show, it’s easy to say that victory lap was well deserved.