Music / Panic! at the Disco

This is gospel
For the fallen ones
Locked away in permanent slumber
Assembling their philosophies from pieces of broken memories

An Alt Rock/Pop Punk/Baroque Pop band created in 2004 by childhood friends Ryan Ross (guitarist/main songwriter), Spencer Smith (drummer), and Brent Wilson (bassist), and later joined by Brendon Urie (lead singer) and Jon Walker (who replaced Brent in 2006). They were discovered by Fall Out Boy's bassist Pete Wentz and signed to his vanity label, Decaydance.

Their name comes from a line in the song "Panic" by Name Taken, but due to the relative obscurity of this reference, the band usually cites the more familiar "Panic" by The Smiths, which contains the line "Burn down the disco" in its chorus.

They are known for their quirky fashion sense, rampant stage gay antics, and longer than life song titles. Popular songs include "I Write Sins Not Tragedies", "The Ballad Of Mona Lisa", "This Is Gospel", "But It's Better If You Do", and "Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off".

In July 2009, Ryan Ross and Jon Walker left the group and formed their own band, The Young Veins. As of 2011, the band had two replacement members: Ian Crawford (guitarist, formerly of The Cab) and Dallon Weekes (bassist, formerly of The Brobecks), who officially joined the band in 2012. However, as of 2015, Brendon is now the only member of the band. While Dallon stopped contributing in the studio, he remained a touring member until December 2017.

Despite having moved away from any technical connection to Emo music, they're often grouped by the fanbase as part of the Holy Emo Trinity, along with Fall Out Boy and My Chemical Romance. They're also often included in the "Fueled-By Five" (five bands from their label, Fueled By Ramen), which also includes Fall Out Boy, The Academy Is, Gym Class Heroes, and Cobra Starship.


Studio albums to date:
  • A Fever You Can't Sweat Out (2005)
  • Pretty. Odd. (2008)
  • Vices & Virtues (2011)
  • Too Weird to Live, Too Rare to Die! (2013)
  • Death of a Bachelor (2016)
  • Pray For the Wicked (2018)

Live albums:
  • iTunes Live Session EP Exclusive (2006)
  • ...Live in Chicago (2008)
  • iTunes Live (2011)
  • All My Friends, We're Glorious: Death of a Bachelor Tour Live (2017)

Compilation albums:
  • Introducing... Panic at the Disco (2008)
  • Panic! at the Disco Video Catalog (2011)

Tropes applying to the band and its members:

  • Adorkable: Everyone who has been a member of the band has displayed this.
  • Aerith and Bob: Current and former members of the band have been named Brendon, Ryan, Spencer, Brent and Dallon (which actually fits the 'Mormon people give their children odd names' stereotype).
  • Bishōnen: Brendon and Ryan.
  • Bi the Way/Experimented in College: Brendon admitted in an interview to been attracted to guys before and having 'experimented' with guys though he has never given his sexuality a label.
  • Butt-Monkey: Brent Wilson is this among many fans, who are fond of telling jokes about him working at a McDonald's now that he's not with the band and/or various sarcastic comments saying they love him and are big fans.
  • Dude Looks Like a Lady: Brendon, Ryan, and Spencer were prime candidates for this trope especially during A Fever you Can't Sweat Out, though this is no longer the case.
  • Fan Nick Name: Brendon: Bden, Brenny Bear, and Beebo. Ryan: Ryro and (by his detractors) Ryho. Jon Walker: Jwalk. Ian Crawford: Een.
  • Faux Yay: The tradition began with Ryan and Brendon and has continued with Brendon and Dallon. Features anything from intentional Almost Kisses to simulated blow jobs. Makes up one-third of their act, to the delight of fans.
  • Four-Temperament Ensemble. One of the lineups, at least.
    • Brendon - Sanguine
    • Ryan - Melancholic
    • Jon - Phlegmatic
    • Spencer - Choleric
  • Functional Addict: Spencer himself admitted to believing he was this in a blog post, where he talked about his drug addiction and getting clean.
  • Guyliner: But of course!
  • Heterosexual Life-Partners: Ryan and Spencer used to be, arguably.
  • I Am the Band: As of 2015, Brendon Urie is the only official member of Panic! at the Disco.
  • Keet: Brendon might well be the poster boy for this trope.
  • Large Ham: Brendon. Oh, Brendon.
  • Mr. Fanservice: Brendon is a major one, as it isn't at all at common for him to take his shirt off onstage, he's almost always involved in any stage gay and it's made abundantly clear by the video for Girls/Girls/Boys, where he spends the entire video naked. A couple of the other members can also be this to an extent.
  • Odd Couple: Prior to Weekes's departure, the two front men of the band were the young (27 at the time), openly atheist, extremely outgoing, Loveable Sex Maniac Brendon Urie and the older (33), quieter, Adorkable practicing Mormon Dallon Weekes who has been Happily Married since 2006 and has two children.
  • Promoted Fanboys:
    • The guys were huge fans of Fall Out Boy, and followed Pete's livejournal before sending him a sample of their music and ultimately getting signed to his label. Brendon has also been featured on Fall Out Boy songs multiple times.
    • They also started out as a Blink182 cover band.
  • Red Oni, Blue Oni: Brendon (red) and Dallon (blue)
  • Revolving Door Band: No two albums have had the same lineup.
    • Fever was recorded by Spencer, Ryan and Brendon. note 
    • Pretty. Odd. added Jon Walker. note 
    • Vices was Brendon and Spencer, with a few session musicians for trumpets, and choir vocals
    • Too Weird was Brendon, Spencer and Dallon
    • Bachelor appears to only be Brendon note 
  • Spell My Name with an "S": Panic! At the Disco vs. Panic at the Disco.note 
    • It's spelled Brendon, not Brandon
  • The Teetotaler: Ryan and Spencer, when the band started. Reason C (Ryan's dad). Kind of Harsher in Hindsight in Spencer's case, as of 2013 he went public about his substance abuse problems.
  • The Quiet One: Dallon onstage.
  • Token Religious Teammate: Dallon is a practicing Mormon, in contrast to atheist Brendon.
  • Walking Shirtless Scene: Brendon taking off his shirt at one point is almost happens once a concert, he's also shirtless in MANY of his Vines. He even posted a vine where he sings about not liking to wear shirts (warning: video contains NSFW language).

Tropes found in the music and videos:

  • AcCENT Upon the Wrong SylLABle: Listen to "Build God Then We'll Talk", particularly Brendon's pronunciation of "caricature".
  • Album Title Drop:
    • From "That Green Gentleman": "Things are shaping up to be pretty odd."
    • From "Say Amen (Saturday Night)": "I pray for the wicked on the weekend."
  • Alliterative Name: Vices & Virtues, as well as its track "Sarah Smiles".
  • All There in the Manual: The lyrics that come with A Fever You Can't Sweat Out expand on some of the songs, due to containing the original lyrics for the songs instead of the versions that ended up being used.
    They ended up... well, making love isn't exactly what I'm looking for. But. You. Get. The. Picture.
  • Arc Symbol: From "This Is Gospel" through Pray for the Wicked, Brendon has been lyrically fascinated by religious, usually Christian terminology.
  • Ballad of X: "The Ballad of Mona Lisa"
  • Bi the Way: This is what "Girls/Girls/Boys" is about.
  • Body Horror: "Emperor's New Clothes" has Brendon sprouting . . . a few appendages. And while he's shifting, you can hear his bones cracking, and see them moving under the skin.
  • Body Surf: In the video for "Don't Threaten Me With a Good Time", some sort of Cthulhumanoid Shapeshifter travels from a young woman's body to the body of Brendon Urie and returns to the bar in his body presumably to find another host.
  • Book Ends:
    • The music video for "But It's Better If You Do" begins and ends in black-and-white.
    • Vices & Virtues. Both the opening song "The Ballad of Mona Lisa" and the ending song "Nearly Witches (Ever Since We Met...)" feature the line "Mona Lisa, pleased to please ya."
    • "Camisado" starts and ends with a minimalist piano accompaniment and the lyrics "The I.V. and your hospital bed / This was no accident / This was a therapeutic chain of events."
    • "This Is Gospel" begins with a Heartbeat Soundtrack. It ends with the heartbeat slowing and stopping.
    • "The Piano Knows Something I Don't Know" begins and ends with the same quiet verse.
  • Breaking the Fourth Wall: "We're So Starving" kicks off Pretty. Odd. by directly addressing the listener, assuring them that the three years since their last album were spent creating songs for their fans and promising that they haven't changed as a band despite a change in the lineup.
  • Break-Up Song: "Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off":
    Then think of what you did
    And how I hope to god he was worth it
  • Chewing the Scenery:
    • After the video for "The Ballad of Mona Lisa" Brendon will be puking up scenery for weeks.
    • Brendon's multitasking in "Emperor's New Clothes": chewing the scenery whilst morphing into a demon before entering what seems to be Hell.
  • Cluster F-Bomb: "Nicotine" features the word 'fuck' at least four times along with the repeated usages of the word 'damn', which is a bit jarring compared to a majority of their other songs.
    • As well as “(Fuck A) Silver Lining”, obviously. It's sarcastically bleeped out of the second chorus.
  • Concept Video: Nearly all of them. Notable examples are the videos for "But It's Better If You Do" where the boys are musicians in an illegal strip club, and "I Write Sins Not Tragedies", featuring a circus wedding filled with clowns in lingerie!
  • Concept Album:
    • AFYCSO is about various references and rebellion, and is also split into two halves; the first half is more traditional-sounding pop punk, while the second puts a unique baroque spin on the sound. The two halves are connected by the album's intermission, which starts with techno-sounding electronic beats before transitioning to a piano interlude.
    • Pretty. Odd. is heavily The Beatles-themed.
    • Too Weird to Live, Too Rare to Die is about drugs, sex, and Las Vegas.
  • Cover Drop: For Death of a Bachelor on "Don't Threaten Me With A Good Time."
    How did we end up in my neighbor's pool
    Upside down and with a perfect view
  • Creator Provincialism: Too Weird to Live takes heavy inspiration from Brendon Urie's hometown of Las Vegas.
  • Creepy Monotone: The verses of "Lying Is the Most Fun"
  • Continuity Nod:
    • The opening of "The Ballad of Mona Lisa" music video has multiple nods to the video for "I Write Sins Not Tragedies". This includes the view of church pews, the focus on Brendon's hat, and of course "closing the goddamn door".
    • The clocks in "The Ballad of Mona Lisa" and "Ready To Go (Get Me Out of My Mind)" are all set to nine o'clock, referencing "Nine in the Afternoon".
    • Near the end of the music video for "That Green Gentleman", a group of old men appear dressed in the style of the band circa A Fever You Can't Sweat Out.
  • Dark World: "Emperor's New Clothes" takes place here after Brendon gets denied access to Heaven and descends into a dark wasteland, where he turns into a demon and enters Hell.
  • Dead All Along: Used at the end of the music video for "Nicotine".
  • Deliberately Monochrome: The black and white variation is used in the videos for "Northern Downpour", "Nicotine", and "Death of a Bachelor", as well as at the start and end of "But It's Better If You Do".
  • Digital Piracy Is Okay: Brendon has gone on record as saying that he's okay with fans ripping his music off of YouTube if they're unable to pay for it, seen by many as a sign that he's truly Doing It for the Art.
  • Downer Ending: The video for "Don't Threaten Me With a Good Time" ends with the protagonist transforming into a tentacle monster, killing Brendon by impaling him with a tentacle and throwing him out the window, devouring his body, assuming his form, and then wooing a girl at a bar before releasing its tentacles.
  • Emo: Panic! at the Disco moved away from their emo-pop roots, with Too Weird to Live, Too Rare to Die! assuming a more Synth-Pop sound and lyrical style.
  • Even the Girls Want Her: The bonus track "All the Boys":
    All the boys and I
    Love her madly
    All the boys and I
    All the girls and I too
  • Excited Show Title!: Too Weird to Live, Too Rare to Die!.
  • Fading into the Next Song: Have demonstrated mastery of this trope.
    • It occurs multiple times on A Fever You Can't Sweat Out:
      • "Introduction" → "The Only Difference...".
      • "Lying Is The Most Fun..." → "Intermission"
      • "But It's Better If You Do" → "I Write Sins Not Tragedies".
    • "We're So Starving" → "Nine in the Afternoon" on Pretty. Odd.
  • Female Gaze:
  • Finger on Lips: In the video for "I Write Sins Not Tragedies", Brendon covers his mouth for the words "whore" and "goddamn".
  • First-Person Perspective: The video for "Don't Threaten Me with a Good Time" is shot in this manner from the perspective of the protagonist, who turns into a tentacle monster.
  • Genre Shift: Each album has been a pretty significant change from the last.
    • A Fever You Can't Sweat Out - Emo, Synth Punk, and Baroque Pop.
    • Pretty. Odd. - Beatlesque rock
    • Vices & Virtues - very Pop Punk
    • Too Weird to Live, Too Rare to Die! - electronic dance and Synth-Pop
    • Death of a Bachelor - electronic pop rock with jazz and Queen influences
    • Pray for the Wicked - straightup pop
  • Girl-on-Girl Is Hot: This is present in the "director's cut" version of the "Girls/Girls/Boys" video, which features two female models in underwear making out.
  • Groin Attack: Just before Brendon's girlfriend knocks Brendon out in "Say Amen", she kicks him in the crotch, allowing him to hit the high note toward the end of the song.
  • Happy Ending Override: If you count Brendon escaping into the afterlife at the end of "This is Gospel" as a happy ending... too bad. "Emperor's New Clothes" lands him in hell.
  • Heartbeat Soundtrack: A few times in Too Weird, most notably in the beginning and end of "This is Gospel".
  • Homage: The "Girls/Girls/Boys" music video is a recreation of D'Angelo's "Untitled (How Does it Feel)" music video.
  • Implausible Deniability: One very famous line from "Don't Threaten Me With a Good Time":
    I'm not as think as you drunk I am.
  • Intercourse with You: A common theme in many of their songs (quite possibly Author Appeal).
    • "Hurricane" most definitely counts.
      I led the revolution in my bedroom
      And I set all the zippers free
      We said "no more war, no more clothes, give me peace"
      Oh, kiss me...note 
    • Also "New Perspective":
      No more need be said
      When I'm inching through your bed
    • One of the bonus tracks for Vices & Virtues, "Kaleidoscope Eyes":
      I swear to God, I'd never heard a better sound coming out
      Than when you're whimpering my name from your mouth ...
      I've got an insatiable desire
      For your
    • In "The Calendar":
      At night your body is a symphony, and I'm conducting
    • "Casual Affair"
  • Location Song:
  • Long Title: They enjoyed giving their songs these in their earlier days, and according to Brendon they shortened the titles over time since he kept forgetting them.
    • AFYCSO includes "The Only Difference Between Martyrdom and Suicide Is Press Coverage", "Lying is the Most Fun A Girl Can Have Without Taking Her Clothes Off", "There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought of It Yet".
  • Love Is a Drug:
    • "Nicotine" from Too Weird to Live, Too Rare to Die.
      'Cause your love's a fucking drag
      But I need it so bad
    • "Nearly Witches (Ever Since We Met)" also has elements of this.
      Ever since we met
      I only shoot up with your perfume
      It's the only thing
      That makes me feel as good as you do.
  • Lyrical Dissonance: Most of A Fever You Can't Sweat Out. "Camisado" is a notable example, being an upbeat dance song about a person who gets regularly hospitalized.
  • Male Gaze: The "director's cut" version of "Girls/Girls/Boys" is a rather jarring example of this, which isn't present in the official release.
  • Neoclassical Punk Zydeco Rockabilly: "Trip hop-cabaret-dance punk" was how Brendon Urie described AFYCSO when asked.
  • New Sound Album:
    • Pretty. Odd.'s psychedelic/indie-influenced rock is a far cry from the techno-y baroque pop punk of AFYCSO, which led to it receiving a less than unanimous positive reaction.
      • Perhaps the best example is the lead single "Nine in the Afternoon", an upbeat track in every sense of the word with no less than nine references to "feeling good"... and this from a band known to be popular with Emo Teens.
    • Vices & Virtues was more in line with A Fever You Can't Sweat Out, however.
    • Too Weird To Live, Too Rare To Die is roughly 90% dance pop, with techno and dubstep influences, and a complete departure from anything they did before, barring "New Perspective". The closest song to any of their previous sounds is the piano and string ballad "The End Of All Things".
    • Death of a Bachelor introduces power pop and Sinatra-esque jazz into the mix.
  • Non-Appearing Title: All of the songs on A Fever You Can't Sweat Out, but seen less and less with each successive album. Brendon has said this is because he had a hard time remembering the titles of the songs.
    • "Emperor's New Clothes", in which the inspiration is only hinted at.
      I'm all dressed up and naked
  • Noodle Incident: Part of the What Did I Do Last Night? in "Don't Threaten Me With a Good Time":
    Memories tend to just pop up
    Drunk pre-meds and some rubber gloves
  • Of Corpse He's Alive: Friend of the band Shane Valdés did a short called "A Weekend at Pete Rose's" starring Brendon, Spencer, and Pete Wentz, with this trope as a premise.note 
  • Off with His Head!: Featured in the "Miss Jackson" music video.
  • One-Man Army: Brendon in the music video for "Say Amen (Saturday Night)". 30 masked men come to kill him; he kills them all. In the most ridiculous fashion possible.
  • One-Woman Song: "Sarah Smiles", "Miss Jackson"
  • One-Word Title:
    • AFYCSO: "Introduction", "Camisado", "Intermission"
    • Vices & Virtues: "Hurricane", "Memories", "Always"
    • TWTDTRTD: "Nicotine"
    • Death of a Bachelor: "Hallelujah"
  • Opposites Attract: "When the Day Met the Night."
  • Precision F-Strike:
    • Added one of these into their cover of ""Karma Police" at a live performance in Denver.
      This is what you get when you FUCK WITH US
    • There's also one in "Crazy = Genius":
      If crazy equals genius
      Then I'm a fucking arsonist
  • Punctuated! For! Emphasis!: Why, the name of the band, of course! as well as Pretty. Odd.
  • Rearrange the Song: ...Live in Chicago ends with a rearrangement of the Subdued Section of "The Piano Knows Something I Don't Know" which is identical to the original except a new Brendon vocal track gets added every two bars, leading to a layered effect where multiple Brendons are singing atop each other.
  • Retro Universe: Pretty. Odd. and Take a Vacation are very sixties inspired.
  • Sanity Slippage Song: "Emperor's New Clothes" is an example. Even without taking the album's overall story into account, the song's music video makes the theme pretty clear.
  • Satan: Demonic Brendon comes face to face with the Prince of Darkness himself in the end of the "Emperor's New Clothes" video.
  • Sequel Song:
    • The video for "Mona Lisa" seems to suggest the song as a sequel to "Sins Not Tragedies", taking place in the same church. Last time it was for a wedding; this time it's a funeral.
    • Similarly, "Emperor's New Clothes" was revealed by its music video to be one to "This Is Gospel". A close listen reveals a slight alteration on the melody of "Gospel"'s Ohs being used in "Emperor"'s verses.
  • Siamese Twin Songs: "We're So Starving" and "Nine in the Afternoon," but the latter is usually played by itself in live shows.
  • Shout-Out:
    • Fever:
      • Many of the album's songs are named after lines from Chuck Palahniuk novels.
      • "The Only Difference Between Martyrdom and Suicide Is Press Coverage" comes from Palahniuk's Survivor.
      • And the lyrics of "Time to Dance" are one big long reference to Invisible Monsters.
      • If you haven't read Invisible Monsters, "Time to Dance" seems like a song about teen pregnancy, and some of the lines that reference the book seem to have little meaning in the scheme of the whole song (namely "hiding in estrogen and wearing aubergine dreams").
      • "Build God, Then We'll Talk" has a shout out to The Sound of Music.
      • "Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off" and "But It's Better If You Do" are lines from the movie Closer—spoken in the same breath, no less.
      • "London Beckoned Songs About Money Written by Machines" has a bridge which references lines from Palahnuik's Diary ("just for the record, the weather today..." is a reference to a line the main character often says), and the title references the Douglas Coupland novel Shampoo Planet ("Torrid tunage from London beckoned—songs about money written by machines.")
      • This one may be unintentional, but the title also references Pink Floyd three times; the band is English, and they have songs titled "Money" and "Welcome to the Machine".
      • "I Write Sins Not Tragedies" also refers to Shampoo Planet ("I am writing a list of tragic character flaws on my dollar bills with a felt pen. I am thinking of the people in my universe and distilling for each of these people the one flaw in their character that will be their downfall—the flaw that will be their undoing. What I write are not sins; I write tragedies.")
    • Pretty. Odd.:
    • V&V:
      • The chorus of "Nearly Witches (Ever Since We Met)" was inspired by Patrick Süskind's Perfume.
      • Take one look at the chimney sweep part of the video for "Ready To Go". Mary Poppins, anyone?
      • "Kaleidoscope Eyes" is part of a line from "Lucy in the Sky with Diamonds":
        Somebody calls you, you answer quite slowly
        A girl with kaleidoscope eyes
    • "Too Weird to Live, Too Rare to Die" is a quote from Fear and Loathing in Las Vegas.
      • "Vegas Lights" starts off with a number-counting jingle from Sesame Street.
    • Bachelor:
      • "Emperor's New Clothes", title and lyrics, is self-explanatory.
      • "Crazy=Genius" mentions several members of The Beach Boys.
      • The music video for "Hallelujah" features perspective tricks from Monument Valley.
      • "Don't Threaten Me With A Good Time" incorporates the guitar riff from "Rock Lobster".
    • Wicked:
      • "(Fuck A) Silver Lining" starts with a pitched-down sample from the 1969 version of “Oh What a Night” by The Dells and later name-drops Beyoncé:
        Quick charade, Beyoncé, Lemonade
  • Something Completely Different: After an entire album consisting of dance-pop/club/rock, "The End of All Things" is a heartwarming piano-driven ballad about being in love.
  • Spiritual Successor: Pretty. Odd. gets one in Take A Vacation! by The Young Veins, the band formed by half the band when they split. The album closely resembles the style of Pretty. Odd..
  • Stealth Prequel: "Say Amen" appears to be this to "This is Gospel", given Brendon is knocked out and bruised in much the same way he's introduced in the latter, and the end of the song plays a heartbeat—a motif maintained in "Gospel". The presence of the Devil's Key on his person could also explain how he transforms into a demon in "Emperor's New Clothes".
  • Steam Punk: The fashion and the items used in "The Ballad of Mona Lisa" are clearly influenced by the genre.
  • Step Up to the Microphone: Ryan sings the chorus on "Northern Downpour" with Brendon harmonising.
  • Strapped to an Operating Table: The first minute or so of the video for "This Is Gospel."
  • Studio Chatter:
    • Shows up in the middle of "Miss Jackson".
    • Also shows up at the beginning/end of most of the songs on Vices & Virtues.
  • Surreal Music Video:
  • Suspiciously Specific Denial: "We're So Starving," where they assure the listener that they are still the same band.
  • Take That!:
    • "London Beckoned Songs About Money Written by Machines" is one aimed towards the then-fledgling scene community (back when it was an offshoot of emo). This, of course, went over the heads of the MySpace crowd.
    • "There's A Good Reason These Tables are Numbered..." can be interpreted as a Take That to the subject of the song.
  • Take That, Audience!: They made a few efforts during the Pretty. Odd. era to alienate the fans who liked Fever better, most noticeably the video for "That Green Gentleman", ending with old men coming out of a Russian doll wearing their old Fever-era circus outfits.
  • Take That, Critics!: Aside from firing shots at the scene community, "London Beckoned Songs About Money Written by Machines" also preemptively sticks it to the press and potential critics of the band, outright sarcastically acknowledging how the press has the power to either make the band "hip" or disavow them entirely.
    Just for the record, the weather today
    Is slightly sarcastic with a good chance of
    A) Indifference, or
    B) Disinterest
    In what the critics say.
  • Talking in Your Sleep: "All the Boys":
    All the secrets that you keep
    Might get spoken while you sleep
  • Title-Only Chorus: "Girl That You Love"
  • The Lost Lenore: Implied in the music video for "Nicotine".
  • Whodunnit to Me?: How the video for "The Ballad of Mona Lisa" plays out. Mary did it.
  • Title Track: "Death of a Bachelor." Notable because none of their first four albums have a title track.
  • Uncommon Time: "Build God, Then We'll Talk" switches between 4/4 and 3/4 with reckless abandon.
  • Undercrank: "Emperor's New Clothes" makes liberal use of it for its music video, with the video sped up to match the beat of the song.
  • What Did I Do Last Night?: "Don't Threaten Me With A Good Time."
    Who are these people?
    I just woke up in my underwear
    No liquor left on the shelf
    I should probably introduce myself
  • Would Hurt a Child: The cultists in "LA Devotee" are fond of giving children psychological and Electric Torture.
  • Your Cheating Heart: "Lying Is the Most Fun..." and "Build God, Then We'll Talk" have heavy references to cheating.
    • Also implied in "I Write Sins Not Tragedies", and outright shown in the video.
    • As stated by the band itself, the lyrics that come with "Hallelujah" refer to infidelity.

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