Twenty One Pilots had ground control in Bridgeport

BRIDGEPORT >> An airplane roars to life as alt-rock drum-andpiano duo Twenty One Pilots wasted no time in saving Webster Bank Arena’s sold-out soul on Jan. 18.

Invigorated by Billboard Top 10 hits “Stressed Out” and “Heathens,” the latter from the Suicide Squad soundtrack, Twenty One Pilots kicked off the second leg of their Emotional Roadshow tour in Bridgeport.

Amid flashing lights and scifi beats, glitch synthesizers and uplifting raps, Twenty One Pilots (Tyler Joseph on vocals and piano and Josh Dun on drums) separate their show into three acts totaling over two hours in length.

While defiantly pop — the sunny, synth-driven melodies of “Tear in My Heart” verge on Beatle-esque, with a little bit of “Pure Imagination” Willy Wonka thrown in — music critics often have trouble pinning Twenty One Pilots’ sound into one genre.

As concert opener “Heavydirtysoul” blazes forward with a rapped refrain and breakbeat drumming, encore “Trees” borders on club-ready electro. Midshow centerpiece “We Don’t Believe What’s On TV” even sees Joseph dig out a ukulele for an indie rock rave-up set to Dun’s bluesy drum shuffle.

Without being prompted, the engaged crowd joined Joseph’s chants during “We Don’t Believe What’s On TV,” uniting the infectious number’s “hey, hey, hey” chorus to rollicking ukulele chords.

Theatrically, Twenty One Pilots comfortably slide style next to substance. Balaclava-clad with a stark red-and-white color scheme, the band subvert their “A Clockwork Orange” aesthetic with positive piano-rock. It would sound at odds if the band wasn’t so embracing of the dichotomy.

Knowingly aware, Dun smears pink corpse paint around his eyes, while Joseph has a penchant for suits.

Many of the band’s fans dress as a member of the duo, sporting multicolored hair and vibrant makeup. Twenty One Pilots’ fans are affectionately referred to as the Skeleton Clique by the band. Despite being Grammy winners now, Twenty One Pilots engage their fans with a “Fairly Local” vibe, Joseph materializing in the middle of the crowd during selected numbers; even crowdsurfing when the mood seems to strike him.

Home video of the duo playing backyard concerts and goofing off while trying to change a tire in 2011 flash behind them as they segue into their second act: a pair of piano ballads — “Ode To Sleep” and “Addict With A Pen” — capped off by a poignant cover of My Chemical Romance’s “Cancer.” Chirpy electronics underpin “Cancer,” giving Twenty One Pilots a soaring vibe well attuned to arena crowds.

It’s often hard to distinguish who the frontman for Twenty One Pilots is on stage. Though spry and supercharged, Joseph readily steps aside for Dun, who frequently gets full attention and shines. Set in front of a CGI version of himself playing the drums, Dun challenges his virtual avatar to a drum battle in the show’s final act.

After beating his virtual self, the real Dun gives the crowd a humble smile and nod before the show goes on to a set of four unexpected covers from the last three decades: Chumbawamba’s “Tubthumping,” Blackstreet’s “No Diggity,” “Where Is The Love?” by The Black Eyed Peas, and House of Pain’s “Jump Around.”

The random, but strangely cohesive medley of covers perhaps summarizes what Twenty One Pilots does best, both live and on record: viewing pop music as a kaleidoscope of sounds to tweak and colorize, uplift and mold.

CONTRIBUTED Twenty One Pilots