Day two of teeny-bopper heaven continues in Bristol after Sleeping With Sirens (here) last night. Pierce The Veil have a very similar fanbase and the scene is set at 10:00AM on the day of the gig by the queue forming. Throughout the day, #PTVBRISTOL on Twitter keeps a dedicated group company as they strive to do anything but revise for their upcoming exams.
A full nine hours after this madness, doors finally open, and the first taste of actual music comes from Hands Like Houses (****). The Aussies rise to the occasion excellently, lending their interesting pop-punk to the screaming crowd. It’s very A Day To Remember-like stuff, but without any screamed vocals. Along with their Hawaiian shirts, they bring along something that their mothers would be pleased to see.
Time for something a little heavier then with Woe, Is Me (****). Only five of their 6,000 band members have made the stage this time, but any doubts that they wouldn’t be able to pull off their difficult one chord chugging are quashed immediately with ‘Call It Like You See It’. WIM really do have the verse writing ability of a pack of chimps, but they make up for it with their catchy sing-a-long choruses, like in ‘A Story To Tell’ and ‘Nothing Left To Lose’. They unashamedly belt out the laughable ‘I’ve Told You Once’ (check out the lyrics online for your amusement) before ending with arguably their best song, ‘Vengeance’. I was worried pre-gig that their set may drag thanks to its repetitiveness, but their 30 minutes are up before the outskirts of the audience can complain about the racket.
Really though, the punters would have sat through two hours of a grown man farting into a mic if it meant they had a chance to see Pierce The Veil (****). Two huge confetti cannons shower the screaming crowd as PTV launch headlong into ‘May These Noises Startle You In Your Sleep Tonight’ and ‘Hell Above’. Pierce The Veil have come a hell of a long way in their six year existence, and with songs like ‘Besitos’ and ‘Hold On Til May’, it’s clear why. They have the potential to be the next big Kerrang!-core band now that My Chemical Romance have disbanded and Fall Out Boy have started bothering the charts again.
The excitable Vic Fuentes complains about the size of the stage, but superbly brushes it off with a remark of “just imagine we’re playing in your bedroom”. His mid-song interaction is pretty poor, but he doesn’t fall foul of a huge ego like Kellin Quinn (Sleeping With Sirens). No, he realises that the fans are what made the band, and they’re the ones who will continue its existence. His solo acoustic rendition of ‘I’m Low On Gas And You Need A Jacket’ could easily be horribly cringeworthy, but it actually fits in pretty well with the flow of the set.
‘Bulls In The Bronx’ finishes the regular set, but the encore everyone is expecting comes with ‘King For A Day’ and another blast of the confetti cannons. Gig-goers tonight have had what will probably be their last chance to see PTV in such an intimate setting before they are headlining Academies and, ultimately, arenas.
One other thing to note is the absurd amount of fans attempting to take hundreds of low quality pictures on their phones. It really is pathetic to spend the entire set staring at a screen and not enjoying the band whilst making mental photos. The Twitter generation really has fucked up somewhere and even bands are mentioning it now (see Yeah Yeah Yeahs). A special mention to the fellow in front of me who films relative darkness for a full 13 minutes before his arm gives out. Why?
Written by MG Savage
Founder & Editor for DEAD PRESS!