Pierce The Veil performed a fiery set Sunday evening, giving heed to their past albums while prizing some of their most popular songs from their earlier works.
They started their set with “Death of An Executioner” off their newest album, “The Jaws of Life.”
Pierce the Veil is an American rock band comprised of Vic Fuentes, Jaime Preciado and Tony Perry. Originating from San Diego, California the group released their debut album in 2007.
Like many metal bands, Pierce the Veil mixed singing and screaming, Vic’s impressive head voice and vocal fry leading the type of teenage resentment lyrics that guide his earlier songs.
The crowd screamed and held up “I heart Pierce the Veil” and “Latinas love Pierce the Veil” posters as the band was illuminated on the jumbo screen.
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“Lollapalooza,” Vic said, his voice ringing from the stage. “Before we get our show started, we just got one question to ask you guys.”
He paused for a minute before saying, “What’s so good about picking up the pieces?” to loud screams from the crowd— the beginning of “Caraphernelia,” off of their sophomore album “Selfish Machines.”
At the center of each song was the usual formula of admirable guitar and drum work that gave a gritty back-bone to Vic’s expansive range.
“Chicago, let’s hear you scream,” Vic said, as smoke blew out from the stage.
The tumultuous sound of the electric guitar mixed with the punchy drum beat created a resolute foundation for the set, driving the forceful performance.
The jumbo screen showed Perry banging his head, his hair flying in front of his face as he jammed on the guitar, his quick hand movements displaying a robust liveliness.
“What if I can’t forget you,” Vic sang, as his abrasive fry rang from the microphone. “I’ll burn your name into my throat, I’ll be the fire that will catch you.”
The harsh backing of instruments subsided, as Vic let the audience sing the final line.
“What’s so good about picking up the pieces?” the crowd sang in unison.
“This is the biggest crowd we’ve ever played to,” Vic said, as they began their next song, “Circles.” “My friends, would you please join us by raising two hands in the sky.”
Vic does a split jump into the air, the jumbo screen showing people moshing and crowd surfing towards the front of the stage.
About halfway through their set, the band played a cover of Radiohead’s “Karma Police,” the pulse of the drum steady behind Vic’s warped vocals.
He held his guitar above his head, red smoke shooting up from the stage. Yellow and green lights illuminated the audience as Vic spun around, looking genuinely happy to be there.
“Chicago you look beautiful,” Vic said. “How many people came out with their emergency contact? Give them a hug or a high five right now.”
A more pensive song, “Emergency Contact” started playing, a song Vic dedicated to his wife and daughter.
Following “Emergency Contact,” Vic started on “Hold On Till May.”
During several live shows, it has been a Pierce the Veil tradition to bring a girl up on stage during this song, and Lollapalooza was no different.
“At this point in the set I want to know if there is anyone out there who wants to come help out with the set?” He asked the crowd to thunderous screams.
He chose a girl from the crowd, who was later introduced as “Orla,” and she ran up to the stage, her face frozen in disbelief.
“Lollapoolza, make some noise for my friend Orla,” Vic said as he started on “Hold On Till May,” Orla sitting on a stool screaming every word.
Towards the end of the song, Vic gifted her his guitar before sending her off stage.
“This is our very first Chicago Lollapalooza,” Vic said, preparing to play their final song. “We really appreciate this opportunity, it’s been f—— awesome.”
Mini fire-works blasted from the stage as Vic made the staticky introduction of the band’s most popular song “King for a Day,” ending their high-powered set.
