WHEN WE WERE YOUNG FEST IN LAS VEGAS DRIVES MASSIVE CROWDS TO PERFORMANCES BY FALL OUT BOY AND MY CHEMICAL ROMANCE
Photos provided by When We Were Young.
Though contentious, When We Were Young Fest was among the most anticipated events of 2024. The festival, hosted at the Las Vegas Festival Grounds, caters to a niche that once went unrepresented. This subculture only had stores like Hot Topic and Spencer’s as solace, with Warped Tour and Monster Energy keeping everyone hanging on by a thin thread. It’s faced some controversy in the 3 years that the festival run has hit the mainstream, but after working out some kinks, WWWY proved to be the most organized scene-centric event of the modern age. Calling in legacy acts with new acts in the afternoon slots allowed for multiple generations to experience their version of what I basically called a “Wattpad Convention.” I never thought I’d see Cobra Starship, Fall Out Boy, and My Chemical Romance perform on the same day due to my odd age for this specific demographic. Yet, event coordinators were like emo fairy godparents. The only caveat was that most bands were due to play one album (presumably their hit) in full, with several refusing to be restricted to this degree. It was truly a dream come true to get invited to this festival, so I was floating on a cloud both days as though they granted me the keys to Disneyland.
My day began at the mainstage, with Underoath as my first set. They are a band I have in my peripheral view, but they impressed me and certainly helped me get my energy up as I had rushed to the festival grounds. Next was Coheed & Cambria, who I had never seen before. It was completely understandable how they had amassed a legion of diehard fans over the years, though their music isn’t entirely for me. I respected their stage presence, as the singer bounced between both mainstages to give the fans the best view possible.
Cobra Starship was up next, and I managed to squeeze my 5’2”-on a-good-day-self close enough to the front to catch every second of the spectacle. My expectations for this band were significantly higher, as I had spent an entire lifetime looking up to them. Their signature included intricate set designs, fan interactions, and an overall fun performance. This standard left me a bit reserved, until they brought out the plane backdrop with a giant alien on it. To be fair, if I remove myself from my ever-present bias for a moment, this might not be for everyone. However, it was a major sigh of relief for those of us who had been waiting a lifetime to see this specific band. I was about 5-10 rows back from the barricade, decked out in a Cobra Starship t-shirt with custom-made nails. I had also reserved a meeting to interview Gabe Saporta a few hours later. It is almost impossible to describe with words how serious my expectations were for this band I loved so dearly.
They immediately broke away from the assignment of the day, leaving me with more initial reservations, though the stage setup was out-of-this-world. Gabe Saporta, Vicky T, and Nate Navarro all looked so happy to be there both times I had seen them perform. So, I decided to trust them a little bit—and I was so glad I did. Two songs later, more real-life magic unfolded before me as Patrick Stump took the stage to perform his part in “Kiss My Sass.” I am just one person; still, the amount of sentimental meaning it holds to me has to resonate with others in the crowd of thousands, too. I have never seen a crowd erupt with so much unbridled joy as they did in that moment for a surprise guest. For personal context, this song taught me how to produce, as Stump produced the album Cobra Starship was set to perform in full, ‘Viva La Cobra.’ This appearance, which I later called “a jumpscare” to Saporta, forgave any crimes for breaking the rule. I can let it slide!
Cobra Starship’s elaborate performance for their afternoon slot was so intricate that I felt as though they deserved higher billing than 3PM on the mainstage. They really showed out; another guest performance from frequent GSM collaborator Jules Is Dead wowed the audience for “Snakes On A Plane (Bring It)”. The new Cobra Starship guitarist, Thrash, was shredding so hard he broke his knee…AND KEPT GOING. Though typically a small venue enthusiast, the Saturday performance from Cobra Starship impressed me significantly more.
I then spent a good chunk of my day in the press lounge, rubbing elbows with people I looked up to when these records were released. It was truly a surreal experience, and a reminder that your dreams can eventually unfold before your eyes—even if not in the way you initially thought they would. Persistence pays off.
After dinner provided by Brotege by Gabe Saporta and Prince Street Pizza, I bought a BeatBox to enjoy the evening’s headliners on the main stages. Somehow, I pushed through the crowds to find my friend during Pierce The Veil. The guest appearance from Kellin Quinn during “King For A Day” was absolutely phenomenal. These two bands are like a pair of bonded cats; they’re wonderful on their own, but much better and more confident when they are allowed to take the stage together. The dual-stage setup received a bit of criticism the first two years of the festival, but it actually helped me fully enjoy more live music—which should be the point!
Jimmy Eat World had been touring with festival headliners Fall Out Boy this year, so I had gotten the chance to see their set before. However, they were one of the few acts all weekend who stuck to the album assignment. They played ‘Bleed American’ in full, and this may be a contentious opinion, but I learned that this format only really works when it’s my personal favorite album. Deep cuts are incredible to sprinkle in festival acts, but if you are less familiar with the record, the fun is less of an adrenaline boost when the hits are covered. This is no disrespect to a legend; “The Middle” was actually my first ever solo in middle school choir. Still, I was a bit lost because I was rusty on the record’s material. Therefore, it felt a bit lengthier, which was a bummer because I do hold a lot of respect for this group. They offer dynamic stage presence, with Jim Adkins being a swoon-worthy performer. There is no doubt that they deserved a slot so high up in the billing. Still, it made me recognize the potential flaws with this year’s format and where some criticism might have been coming from.
Conversely, A Day To Remember always surprises me in the opposite way. They are so good live, and I realized I resonated with much more of their record playthrough than the samples I have been given a taste of at Emo Nites. Their thorough, authentic performance encouraged me to go back and listen to the record from front to back. Therefore, I believe that the format simply has pros and cons. You can discover a lot about yourself when you’re forced to listen to an LP from front to back. In this case, I’m so glad to have accidentally seen A Day To Remember live twice. Their earlier music is heavy enough for me to enjoy, with healthy nostalgia giving it a tiny extra boost.
My favorite band on the planet is Fall Out Boy, so I was already relatively prepared for what I was about to experience. They had been touring a “Days of Fall Out Past” stage show that had originally been intended solely for WWWY but became a much bigger thing after being offered more performances. This dynamic stage performance encapsulates everything the band does well; I’m glad that massive festival audiences got to see them in this way versus just us coffee shop regulars who secure barricade spots every chance we get. Their love for their discography is heartwarming to see, even revisiting a tour from my high school years for the surprise song portion of the set. They brought out Wiz Khalifa this night, which I had actually seen once before but never thought I’d get the chance to again. The only reason I could was that Fall Out Boy has finally learned to accept their past, with all of its warts.
Patrick Stump was visibly invigorated from performing with his friends that afternoon. These boosts of confidence allow the band to embrace their unique presence in the industry, as it has brought thousands together over time. Again, I call back to “healthy nostalgia.” This tricky beast is a hell of a drug; it can be easy to be consumed by the past, but if you learn to wield its elements, it can become your greatest superpower. This format is an incredible way of sprinkling deep cuts into festival sets. They did two “Magic 8 Ball” surprise songs, with the second one calling it back to the beginning of this tour right as it was ending. It was such a pleasure to hear “G.I.N.A.S.F.S.” again, after spending many years thinking I never would!
Most importantly, the reason Fall Out Boy’s headlining set worked is because they are having so much fun up there. They need the resources to get extra theatrical on their audiences, providing pyrotechnics, set design transitions, background dancers, and fireworks. There was something in this set for everyone, both casual fans and diehards like me. I’ve seen plenty of Fall Out Boy performances in my day, but these recent ones have left me incredibly optimistic. It is no longer difficult to defend them, as it might have been when they were experiencing burnout. It seems as though they have finally found their rhythm, both literally and figuratively speaking.
The evening closed with a real heavy-hitter, My Chemical Romance playing ‘The Black Parade’ in full. Once again, this was something I never thought I’d live to see due to poor timing. How dare I be the age I am? I should have been at Warped Tour! Regardless, the band is always impressive, with Gerard Way’s vocals and Ray Toro’s guitar playing taking center stage. Their subdued set choices was a bit jarring due to the flashy performance before them. Still, it was enjoyable to know every transition as if it were muscle memory guiding me along (because it was…). Understanding Gerard Way’s frequent points of reference was crucial; one must know that Gerard will pull from incredibly niche, artsy, indie films and paintings. I wish we were granted the opportunity to see his mood board for this, as the setup was deeply fascinating, like I was walking through an art gallery. Moreover, I did achieve another childhood dream: hearing the hidden track, “Blood,” live….TWICE!
Overall, When We Were Young was the perfect amount of controlled chaos. It was a bit wild knowing so many people there, but very comforting at the same time. I went through the day with rose-colored glasses, truly as though I used the “Motherlode” Sims cheat code on life. Eventually, your people do find you. Being able to enjoy the music who shaped who you are and to be celebrated for it is something indescribable.