When: Thu., May 16, 7:30 p.m. 2013
When Fall Out Boy went on hiatus in 2009, the suburban Chicago pop-punks had long stood for the worst aspects of emo in the popular imagination—whining, navel-gazing, asymmetrical haircuts—even though the band had taken a hard turn toward arena pop before 2008’s Folie a Deux. The listening public now has a love-hate relationship with EDM similar to the one it had with emo, and the reunited Fall Out Boy has kept up with that shift: Fall Out Boy’s comeback album, Save Rock and Roll (Island), includes the inescapable bass drops of brostep. Since the mid-aughts the band has seemed gravitationally drawn to big radio-ready sounds—not just dance music but also R&B, funk, rap, and soul—and its achingly sweet pop-punk has been incorporating all of them in a sort of musical manifest destiny. The new album wrangles together all sorts of elements into a cohesive, polished, hook-filled whole, including the aforementioned brostep (“Death Valley”), sample-based rap (“My Songs Know What You Did in the Dark”), and the kind of new-wave folk-pop that’s made the Lumineers a hit (“Young Volcanoes”). Given the band’s penchant for tongue-in-cheek song titles, it’d be easy to assume that the name Save Rock and Roll is Pete Wentz’s idea of a joke, but I think it’s sincere—Fall Out Boy is bringing Top 40 sounds into rock in order to bring rock back into the Top 40. —Leor Galil Hollywood Holt opens.