twenty one pilots w/ MUTEMATH and Chef’Special
WaMu Theater, Seattle, WA
07.18.16

The line stretched around the block, refuse – think camping chairs, water bottles, trail mix, from people who’d been camped out all day – littering the ground (really, folks?) around the WaMu Theater. Approaching the venue, fans are huddled in groups playing the ukulele and singing along to Twenty One Pilots tracks. Suddenly, the line surges. The gates have opened, and the crowd bum-rushes toward the entrance, only a security guard with a bullhorn-assisted announcement of “If you run I will send you to the back,” calms the crowd.

If you’ve yet to experience a TOP show, let’s just say, it’s something else. Their fans – on the younger end of millennial – are committed. In just six years, TOP has managed to go from 100-person clubs to sold out amphitheaters, and it seemed like every person in the room knew every lyric by heart. The band could have just played a backing track, but don’t think they’d ever do that. TOP are a show. This is a theater. This is love. Faces are painted, merch is on every back, flags are waving, there’s even a specific hand signal waved in the air.

The show kicked off with Fueled By Ramen label-mates Chef’Special, out of The Netherlands. Their blend of pop, reggae, and rap was a great segue into TOP’s set, and their bombastic energy got the huge crowd jumping right off the bat. The five-piece, full band played hard, and the crowd rewarded them with massive appreciation.

New Orleans alt-rockers MUTEMATH followed that up with a set of some fan-favorite tracks. From Paul Meany’s falsetto vocals on opener “Used To,” to the golden, disco-light show and pop anthem of “Light Up,” the band definitely showed off their talents. Drummer Darren King was a monster, barely contained, headphones taped to his head, as he slaughtered every pointed beat. During “Reset,” Meany grabbed a guitar and surfed the crowd, and on “Spotlight” he swung his light as the crowd lit up their phones. Both their performance and their musicianship were on point.

Both bands were a perfectly energetic and passionate setup for TOP to take the stage, though we had to wait an entire forty-five minutes for them to do so. No matter, the crowd was ecstatic, and the opening curtain drop brought ear-piercing screams as the two-piece appeared. Vocalist Tyler Joseph grabbed his signature hanging mic and the band broke out “Heavydirtysoul,” allowing the crowd plenty of space to take over the vocals, which they screamed aloud for the entire show.

The guys kept up their typical showmanship, donning several outfit changes, from suit jackets and ski masks to skeleton hoodies and floral shirts. During dance-pop track “Hometown” Joseph pulls a magic trick, disappearing beneath a black sheet only to reappear on a hidden platform at the side of the room. Drummer Josh Dun killed it, as always, including a stunning solo on “We Don’t Believe What’s on TV” and “Ode To Sleep,” literally bouncing out of his seat at various points.

The guys departed to a second stage for a stammering seven-song medley of older tracks including “Fall Away,” “Addict With A Pen” and “Kitchen Sink.” TOP’s sense of rhythm is impeccable and their construction inventive. About to begin “Holding On To You,” Joseph stops for a minute to check in with the crowd, saying, “This is a massive pit, and don’t get me wrong, I love a massive pit, but make sure to take care of each other.” And then he stops, noticing someone who needs help, stops the show, and splits the crowd, ultimately sending a security staffer out to help her, earning massive respect.

TOP then brought out both opening bands for a four-song cover medley. Celine Dion’s “My Heart Will Go On” was hilarious, including a spread-arm pose, and during Justin Bieber’s “Love Yourself,” Joseph changed one of the lyrics to “I never like to admit that I like this song.” Everyone looked like they were having a ball. The band’s floating drum kit made its appearance, Dun being supported by the crowd; Joseph rolled over the crowd in a giant inflatable ball, and closer “Car Radio” saw him appear on a tall platform near the back bleachers.

Emotionally resonant, TOP’s lyrics are youthfully iconic, clearly identifiable by a massive population to the point of memorization, and literally screaming. Think of it as screamo, emoting through a pop/reggae/hip hop filter. And go see them live, though you might have to wait for the next album rotation, it will be worth it.

Review by Stephanie Dore
Photos by Sunny Martini

Twenty One Pilots, MUTEMATH, and Chef’Special