Underoath hit the road in support of their new album, “Voyeurist.” This current tour hits every major market in the US. The album itself is a slight detour from the tradition metalcore styles of previous album. Personally, that is why I believe it to be so fantastic. They have once again expanded their creativity. Whether the tempo is slowed way down or purely controlled chaos. It hits. The lead single, “Hallelujah” has had some heavy rotation through out the Upper Midwest. “Damn Excuses” is and was a perfect opener to help set the pace. The song is a fiercely brash song that could’ve been on any of their previous albums. It is classic Underoath.
There are very few certainties in life, but Underoath carry with them a few. I had never been to The Fillmore in Minneapolis, MN before and I can easily say it is one of the more beautiful and unique venues in the Upper Midwest. It was an extremely cold evening, but upon entering the facility it was going to be packed to the gills, so no worries. The 4 bright blue chandeliers hang high above the main floor. There were so many people that it was pretty hard to navigate through it. The crowd itself was a mix of generations. For instance I was there from their “The Changing of Times” album. Many of the crowd I talked to were more familiar with their new album, Voyeurist or Erase Me. That is a fantastic sign for an artists longevity.
Now back to what I feel are a few certainties in life. Underoath bringing nothing, but pure energy. I have seen them enough over the years to know that you feel every performance. This was no different. Aaron Gillespie’s drum kit stood in the back left corner across from him on the right side of the stage was Christopher Dudley’s keyboard set up. Those two guys bring an intense spirit. They are non-stop. Gillespie though does it all. He eggs on the crowd, slays on the kit and sings while playing. This was most notable during the introduction of, “Reinventing Your Exit.” He sings quite a bit through the entire song. Meanwhile, his counterpart is pure fire. The man is completely engaged. He flails is arms sporadically, but continuously head bangs and screams while slamming his hands on the keys.
Guitarist Timothy McTague really showed out during “On My Teeth”. During that song I was positioned right in front of him. Pure intensity seeped from his pores. McTague, spent most of the show committing to getting the crowd in front of him moving around. With yells, screams, backing vocals and wild facial expressions, he laid down riff after riff to perfection. His counterpart, James Smith, stood across the stage in his tall stoic fashion. He truly seems like a man hyper focused at all times at the job on hand. Very rarely does he not rip the riffs with exact precision. His movements are calculated. He headbangs with every break down. A master of his craft.
Bassist Grant Brandell might’ve been the easiest person to photograph and watch. Whether finger tapping or punishing the strings on his Fender 5-string. While playing he had one foot up on the monitor and and stood right on the ledge. Despite being perched right on the edge he stood no less than a few feet away from Vocalist Spencer Chamberlain, who was dead center most of the show. One thing I know about Chamberlain, is he moves back and forth a lot and leans into the microphone for his screams. He loves jumping around and flinging his hair all over. The amount of vitality and enthusiasm over the years for his craft has been superb. This was no different.
This show was fantastic. Despite a smaller stage set up than when I saw them in 2019, the lighting was impeccable. The sound was precise. The attendees seemed to be more receptive than ever before. Proving that their growth musically and live show are built to last generations. Genuinely a can miss show everytime.
1. Damn Excuses
2. Breathing In New Mentality
3. On My Teeth
4. Its Dangerous Business Walking Out Your Front Door
5. In Regards To Myself
7. No Frame
8. Reinventing Your Exit
9. A Fault Line, A Fault of Mine
10. There Could Be Nothing After This
11. Too Bright To See, Too Loud To Hear
12. A Boy Brushed Red Living in Black and White
15. Writing On The Walls