CHECK OUT THE PIX FROM THE SHOW HERE

It was already an amazing opportunity: a chance to see, in action, a) one of the biggest bands in the world, and b) a band certainly regarded as the current title-holders of their pop-punk genre. But as I approached Rod Laver Arena – now a black sheep amongst, well, black sheep – I began to understand just how spectacularly huge a show Fall Out Boy were set to perform.

Florida’s own Hey Monday, fronted by 18-year-old Cassadee Pope, were welcomed with astounding warmth by an obviously excited Melbourne crowd, and the six-piece wasted no time in launching into their power-pop repertoire for which they’re known and loved. Pope’s talent, given her age, is among the immediately noticeable (and admirable) traits of the band – her voice, confidence and energy combined work, perhaps, to inspire the very demographic to whom they perform. A couple of songs in, and it begins to become predictable, with the constant emphasis on riffs, emotionally-charged choruses and the like. In fact, its exactly what you’d expect when you read ‘power-pop’. I can’t help but draw comparisons to Paramore – and I get how lazy an observation that seems, but it is, for the most part, true. Regardless, Hey Monday’s set was a slice of perfectly acceptable rock, featuring the Obligatory Acoustic Track â„¢ (in Candles), and Obligatory Key Change â„¢. But you know, that’s alright, because as they ended with single Homecoming , I found that the cynic in me had taken leave, and I didn’t mind Hey Monday after all. Besides, the guitarists constantly skipping mid-song in unison to and from their amps was rather hilarious. So what’s not to like?

All American Rejects were next, and suddenly, there was barely a green seat in Rod Laver to be seen. They played their own brand of alternative power-pop, with a noticeably rockier edge, and the addition of synth and keys in their sound. The group certainly had more substance and were much better suited to the demands of a stadium show, playing hits from each of their three albums, including stand-out, Mona Lisa. They have a tremendous amount of energy, each member rarely standing stagnant their entire. Like Hey Monday, All American Rejects proved very popular amongst the Melbourne crowd, with Tyson Ritter declaring this city his favourite amongst the nation’s cities. Less endearing was his reference to the tragic ‘brushfires’ – not a typo – and his offer to get the band together and do what they can to ‘rock the fires away’. Still, I suppose you have to forgive the guy: Ritter is definitely what you’re after in a frontman, in every song working to lift the ceiling through his pure charisma and his undeniable connection to the crowd. The band finished with Gives You Hell, and as they left the stage, the entire atmosphere became electric, each individual completely aware of the next act to come before them.

A backdrop was revealed to thunderous cheers. It read ‘Fall Out Boy’ in possibly the most unimaginative way possible: white on black, like masking tape on a theatre floor. I became dubious. But by the time the boys had taken to the stage – and most of Rod Laver had been overcome by fits of ecstasy – the roadies had done a little more work, and suddenly the arena was lit by bursts of pyrotechnics. Its one of the more impressive stage set-ups I’ve seen, actually. Thnks Fr Th Mmrs kicked off proceedings (my theory is that as a closer, it’s too predictable), and soon the band began drawing from all-over: Thriller, A Little Less Sixteen Candles…, their cover of Michael Jackson’s Beat It, among others. Highlights included This Ain’t A Scene, Its An Arms Race, and recent radio hit I Don’t Care, both instantly irresistible and, as most find, ultimately memorable. Like the support acts, Fall Out Boy were sure to play to the crowd. For most of the night they jumped, spun, bounced around, and made an effort in stepping toward each corner of the stage as much as possible, maintaining a constant interest in their hardcore fans.

Actually, if I may digress for a moment, a word about bassist Pete Wentz: if I had any say in it, I would not let this man near a microphone in between songs. You just want to hit the guy. His anecdotes, his sentiments, and thanking Fox FM for their support of their tour (yes, really) fell completely flat the entire set. Really, in this respect, the night proved to highlight the do’s and don’ts of on-stage banter: Ritter and Wentz displaying them respectively. Wentz finally redeemed himself, however, in extending, on behalf of the band, his heartfelt sympathy to the victims of Victoria’s bushfires. Truly a class act.

But you don’t care about that – what about the music? Well, they rocked. That is, after all, what they do. Everything there was to like about Hey Monday and All American Rejects, Fall Out Boy took to a whole new level. Put simply, Patrick Stump’s voice is amazing, and Wentz is a great writer, and they are, undeniably, a dynamic duo. But I have to admit, the show didn’t really blow me away. Their hit songs really hit – I don’t think that was the problem. Basically, I liken their set to an ill-prepared cake: it sank in the middle. I mean, every band has filler. Unfortunately for Fall Out Boy, this evening, it was rather noticeable filler. But hey, a cake is still a cake, and their legions of fans ate it up from start to finish, right up until the house lights hit again. Am I taking this analogy too far? What I’m trying to say is, they’re obviously very talented, they rightly deserve to be one of the biggest bands in the world today, and it was fun – but it certainly wasn’t anything spectacular.