Tag Archives: Death of a Bachelor

Concert Review: Panic! At The Disco – Alexandra Palace, London, 19.11.16

By Joanna Cosgrove

This year has been one of the greatest for the pop-punk band (technically a one-man-band at this point), and as it began with some great UK shows by Mr. Brendon Urie and his tour band, it’s only right to end the year with some too.

At London’s own Alexandra Palace, Urie made his debut at the beautiful venue that Saturday night, and brought every last bit of that charismatic and sparkling personality we all know and we all sure as hell love.
With his tour band, consisting of guitarist Kenneth Harris, bassist Dallon Weekes and drummer Dan Pawlovich, Urie rocked the place all night long, never missing a beat or skipping a note (but in fact added some extra high notes, as he does them oh so well). With a nostalgic throwback to the 2000s era of the band, mixing in a fair share of the newer tracks in the band’s repertoire, the night was a sure success among all fans in attendance, young and old.


The show began with an opener of the Black Eyed Peas’ hit “Pump It”, but that wasn’t a long-laster. It was just a short warm-up, getting everyone pumped for the experience that was about to begin. It worked! Because as soon as that music faded and the beginning notes of Death of a Bachelor hit “Don’t Threaten Me With A Good Time” echoed, everyone was dancing and screaming and singing and – if they were like me – were jumping in the hopes of catching a glimpse of the man behind the voice.
Nothing sparks a fire in the crowd more than the LA devotee himself screaming his welcomes at his “motherf*ckers” in the audience of over 100,000 before him. There was not one moment on stage where Urie stopped and breathed – he kept going, kept his feet moving and hit every note he needed to.

I would personally say one of the surprise hits on the setlist was the Fever track “Time To Dance”, because of that fact itself: it’s a track from the band’s debut album A Fever You Can’t Sweat Out, which was released over 11 years ago. And yet, Urie added this non-single track because obviously, he knows what his audience loves to hear. Everyone in the place was singing along, dedicated to every word of that track, singing their lungs out for the love of their emo idol on that stage.
Another stunner that night was the performance of newer track “Crazy=Genius” from Death of a Bachelor. The energy was electric, and the roaring 20s feel shook through everyone on the floor, but how could you make that effect even greater? Two words: drum off! That’s right, some stage-hands brought on a second drum kit so Urie himself could play alongside/battle against Pawlovich in a once-in-a-lifetime breakdown in the middle of the track. If crazy equals genius, then Urie sure is a rocket scientist! We know of his musical talents, among multiple instruments (as demonstrated on his 2016 release), but to see it with your own eyes just makes the fact so much clearer. It was time to pinch; this was NO dream!
And what’s a Panic! concert without that one song? That ONE single? You hear the beginning notes, you freak out because of course “I Write Sins Not Tragedies” was going to be played. One does not simply go to a Panic! concert without expecting that song. Introduced as “one of our newer songs, so don’t worry if you don’t know the words”, met with an obvious giggle from the crowd, every single fan had that bond for a few short minutes because no matter if you’re an old fan, or newly getting into the band, you know this song. This was the song.


And I can’t finish this without a mention of a regular now in Panic! concerts, which everyone expected as soon as they saw Urie make that stroll up to the grand piano on the highest platform of the stage. “This isn’t a Panic! song, but I wish it was”, said Urie as he prepared. This was time for “Bohemian Rhapsody”.
As I began with, 2016 has been a massive year for Panic! At The Disco, and this song was one of the reasons. As well as being released as a studio recording as part of the soundtrack for the DC movie Suicide Squad, Panic! has made this classic rock hit a regular in their concerts and every fan gets excited about this as much as they do about the original Panic! hits. It’s that song that brought us all together, swaying, singing, some were crying. It shows that the whole room, they are a family; every one of us are one large family. That is what a fandom should be. What we felt in that moment. One family.

Overall, with the performances and the interactions with the crowd (Urie spreading his love among the thousands in front of him), there was never a dull moment that night.


This was Panic! At The Disco’s first performance ever at the Alexandra Palace. Thank god we made it a memorable one!

Rating: 5/5

Album Review: Death Of A Bachelor


One decade, six members, and now what we can call the end of all eras has begun with eleven tracks by the one and not-so-lonely Brendon Urie.

He has solidified himself not just as the lead singer of Panic! At The Disco, but AS Panic! At The Disco. He has taken the band into his own heart and soul, and that is heavily shown in his vocal independence on every song on this record. His golden voice has been highlighted beautifully by his fascinating skills on guitar, bass and drums, and the uniqueness from track to track proves how he can use all those skills to his advantage in many ways.

We first gathered news of Death of a Bachelor in October, when Urie decided to throw out a new song, new music video and – as we can see – a new album. Before the release on 15th January, we had already heard a handful of hits: Hallelujah, Victorious, Emperor’s New Clothes, Death Of A Bachelor, LA Devotee and Don’t Threaten Me With A Good Time.

Each of these tracks have been extraordinary, in the usual Brendon Urie way, and just built up the anticipation for this release. We can sigh our relief, Panic! fans: we have been patient and here we are! Hallelujah!

I believe Urie has let go of his band past with recording these songs, and has embraced the theme of new beginnings: he’s the winner, he’s the king, he’s the murderer of his inner bachelor.

Let him gain back the crown, take his seat on the throne, and let’s watch him.

Tonight, he is victorious.


Best Tracks

Being a major fan of Urie’s gorgeous, limitless vocals, I admired the tunes where his high notes, long notes and challenging notes were all I could focus on above all else. I then realised the trouble was, that was pretty much all tunes because that man loves to show off.

I would want to show some love for the title track, Death Of A Bachelor, for both the classic/modern mixing sound and the accompanying video. If you should know one thing about Brendon Urie, it’s his love for all things Sinatra; the video shows his aesthetic pleasure of Sinatra. Suited up, alone on stage, in an empty bar, all filmed in a greyscale filter – Urie has come a long way from busting into churches and putting fishbowls on people’s heads. Away from the video and back to the song: I believe it is one-of-a-kind on this record. The lyrics phrase reinvention in the scenario of a bachelor entering a relationship, ending his lonesome life and starting anew with the love of his life. He comments on how much of a difference it can be, closing one chapter and opening another, and how it’s still a feeling to get used to.

Overall, it’s a deep and catchy song to accentuate the tone of the album – so an amazing title track, Mr. Urie. Thank you for that one.


Another song that needs noting is Don’t Threaten Me With A Good Time. The song is the theme song for a night out you will forget once you wake up; it sums up when you’re having your “last hurrah”, before having to live steady. I feel it sounds like a prequel story of the previously mentioned track, Death Of A Bachelor, as DTMWAGT could be the crime scene, leading to DOAB being the funeral for the destroyed personality.

The track dabbles into the common party scene in LA, where alcohol is at every corner and these new concoctions with whatever substance in them are being shoved down your throat – but when you are trying to enjoy your night, who cares what they do? That’s the celebrity life before marriage, as if describing the most hardcore bachelor party you would ever attend. I doubt he has ever lived to that extent in his 28 years, but he has witnessed it, and that’s where his documentation comes from. Altogether, one I would call the partier’s anthem of reality. Kudos to Urie for making a vibrant track that shows the pathway to disaster for the regular party goer – and I can’t close this without mentioning the awesome Rock Lobster sample.


The last song I’ll give my love to will be Victorious. As the opening track to this story-full record, it sparks the excitement from the start, once the beat kicks in. I would label it as the life-winner’s song; one to shout out to the heavens when you’re feeling mighty proud of resisting temptation or performing a good deed – what Urie demonstrates in the accompanying music video – and I love that message.

You should always feel strong, feel empowered for doing the smallest things to help yourself, and I think that’s what encouraged its inclusion on this album. Urie is one that is usually free in his actions, nothing pulling him back (can sometimes backfire but I’m sure you can still learn from your mistakes at 28), and he’s getting other people to join in with him in just being glorious in living life day by day.

With the right attitude, anything is a contest to be won. With the right song, Urie can show everyone that is a great viewpoint on life.



Final Verdict

How can I sum this up in a small paragraph? This album was just a wonder for the ages.

When your band has left you behind, for personal or musical reasons, you may just forfeit. You say “the magic’s gone” and move on to being solo. Not Brendon Urie. His band is still his, and if he’s not gonna have company to help him, who needs them? Every time the line-up changed, Urie kept his head up high, his voice clear and perfect. Now he’s there, alone, beside himself, and he is not suffering.


Keep singing on, Brendon. Hallelujah!


Rating: 5/5

Written by Joanna Cosgrove

Panic! At The Disco: New Album, New Song, New Video, New Era

By Joanna Cosgrove


As of 22nd October, Panic! At The Disco are officially on their way back!

This pop-punk band, celebrating a decade in the music industry this year, have finally announced their newest era in the form of a triple threat: an album, a new song, and a new music video.

The album? Titled after a previously released track, Death of a Bachelor’s features Urie on what is guessed to be an allusion to his life years back – as he states on the official Panic! website that the album is like a throwback to the start of his musical interest (even referencing him first trying to find the perfect musical instrument). The photo was edited with red and white details and images, to portray Urie’s story of “the death of a bachelor”.


The song? A brand new one revealed with its pairing video. The song is called “Emperor’s New Clothes”, and the lyrics capture an era to end all, making it the perfect introduction to what this band has in store. Brendon Urie catches the depth of these words in his eternally powerful vocals, where he describes himself in an invincible, almost godly manner, as he is creating anew with this newfound power in his hands.

THAT is how you put power into your music – you treat yourself like a leader as you burst into a new scene.

The video? Firstly, I must put the disclaimer: the video can have some triggering features to people, such as visual references to Satanism and possession (even if that was not Urie’s full intention) and a detailed physical transformation of Urie from human to a Gargoyle-like demonic creature, so if that sounds like imagery you would want to avoid, this video is not for your viewing pleasure.

Now to the review: the video was released to reveal the latest song shown from upcoming Death of a Bachelor, “Emperor’s New Clothes”. The video starts off with a drift-away from the previously released music video for the Too Weird To Live, Too Rare To Die single “This is Gospel”, and portrays Urie’s ascent to heaven becoming a descent to a form of hell.

Its overall imagery shows the strength, power and ownership the song holds. Urie’s transformation captures his wanting to be memorable – be a relic that everyone can remember and admire for decades to centuries to millennia. With Halloween approaching also, the video’s visuals of mythical creatures and human skulls (voiced by Urie) worked well in its favour.

But overall? I’m excited.

A new era always brings greatness, and I have always believed that with bands like Panic! At The Disco where every album brings on a new side of the band and a new story in their growing archive.

I wish them all the best, especially frontman Brendon Urie. Being the final member to survive since 2005, Urie has had to carry this whole album on his own, with only the supplying musicians filling the roles of bass and percussion onstage. Urie is practically going solo, in the name of his band, and for that I have to give him all my luck and wishes in making this album a success.

Good luck, Beebo. You deserve praise for your ten years of hard work and creativity.

And now, if you care to view, here is the newest video by Panic! At The Disco, “Emperor’s New Clothes”: