Panic! At the Disco– or at least what's left of them –has announced they will be headlining the "When We Were Young" music festival alongside Blink-182 in October 2025.
The only original band member left, lead singer Brendon Urie, has been slapping the Panic! name onto his glorified solo projects for nearly 10 years, with each album straying further from the band's original sound.
However, it was announced that the band's debut project, "A Fever You Can't Sweat Out," will be played in its entirety to celebrate the band's reunification since Urie called it quits in 2023.
Released in 2005, "A Fever You Can't Sweat Out" or simply "Fever" was a pop-punk rock opera concept album written and composed primarily by the band's original guitarist Ryan Ross. Combining Victorian-era lyricism and composition alongside punky guitar and drum tracks, this album is a masterclass of genre blending.
After being discovered by Fall Out Boy bassist Pete Wentz and getting signed to his record label "Decaydance," production was pushed back so that Urie and drummer Spencer Smith could graduate from high school. Ross was attending the University of Nevada, Las Vegas at the time and dropped out to pursue the project.
The first track is "Introduction," which is mainly just radio static and background instrumentals setting up for the first actual track "Martyrdom." I will be using the shorthand versions for song titles due to the album averaging SIX WORDS PER TITLE!
"Martyrdom" is an upbeat punky song with fourth wall-breaking lyrics that also touch on the band's desires for success while still being brand new adults.
"Nails For Breakfast" and "Camisado" both deal with drug and alcohol abuse, as well as the struggles of rehab and relapsing. Ross drew inspiration from his father's alcohol abuse but prefers that the audience create their own scenario.
"Lying is the Most Fun" came about when Ross' girlfriend of three years was exposed for cheating and serves as his means of getting back at her through his character's monologues during the verses.
After "Intermission," the album adds several baroque and classical themes to compliment the distorted guitars and ripping drum tracks. Cellos, pianos, accordions and classical nylon guitars are added to the mix to make a beautiful hybrid of sound for the following tracks.
"But It's Better" and "I Write Sins" continue the narrative of "Lying" with Ross' character losing himself in night clubs and trying to come to terms with his failing relationship.
"Esteban" and "These Tables are Numbered Honey" are both brilliant songs that are completely overlooked by the hit singles. Both have spiteful and cutting lyrics that hit like a truck when paired with Ross' overdriven guitar that also contain parallels to Pink Floyd's "The Wall.”
Closing out the album is "Build God, Then We'll Talk." It discusses humanity's bouts with lust, envy, perfection and guilt. The Avant Garde first half is eerily led by the accordion riff interjected by electric guitar and Urie spouting lyrics with the tempo of a modern Shakespeare tragedy. The Melodic Outro is some of the greatest music compositions ever written and closes the album on such a high note that you feel empty when the music ends.
This is one of my personal favorite albums of all time. The lyrics are so unique and hit such a small niche that I feel like there really isn't anything else like it.
I'm insanely jealous of anyone who can see this album performed live in its entirety, but for the rest of us, we'll continue to watch "Live in Denver" repeatedly on YouTube to offset the shakes.
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