From Boston Calling 2025: Headliner Fall Out Boy Takes Boston Down Memory Lane

Pop-punk band Fall Out Boy’s performance on day two of Boston Calling Music Festival was a testament to the group’s long standing popularity, taking the audience down memory lane with hits from each of their albums.

As the group jumped onstage to kickstart their headlining show, it was instantly clear that every member of the band would be highlighted. While lead singer Patrick Stump and bassist Pete Wentz led the show, camera footage also constantly turned to the drummer Andy Hurley and lead guitarist Joe Trohman. This gave the group a feeling of harmony, and they certainly worked together as a cohesive unit, cranking out hits with ease and obviously enjoying the set with smiles on their faces.

Fall Out Boy’s set was a scrapbook of famous hits, taking the audience through each of the group’s albums with visual cues. Between each phase, the stage faded to black and old footage projected, showing the bandmates in their early years. Then, the stage was dressed in new cues nodding to a certain album. During “Sugar, We’re Goin Down,” the red curtains of “From Under the Cork Tree” were draped behind the group. And while Stump belted out the tunes of “Thriller” and “Thnks fr th Mmrs,” the winged sheep from the cover of “Infinity on High” dangled from the top of the stage, flapping its fluffy white wings. The production value helped the musical transitions feel intentional and accentuated the nostalgic vibes of the entire show.

As with any Fall Out Boy appearance, the biggest treat of the set was Stump’s impressive vocals. Stump made complicated vocal runs look like casual clockwork, running through songs with ease. His voice was flawless with no hiccups, making it almost impossible not to sing along. Wentz supported Stump’s angelic voice with some classically emo screaming sessions, aiding him in “This Ain’t a Scene, It’s an Arms Race” with screamo energy.

When it came time to speak with the audience, Wentz normally took the lead, yelling out, “Thank you guys for bearing with the weather and hanging out with us!” and thanking Boston for being one of the first cities to welcome the band when they first ventured out beyond Chicagoland. He also had some of the most dramatic moments of the set — during the “Save Rock and Roll” portion, he strapped a flamethrower to his bass and shot out flames across the stage. And, during “American Beauty/American Psycho,” a gaggle of hockey mask-clad cheerleader dancers flooded the stage and surrounded Wentz, like in a twisted Americana tableau.

Most of the performance was extremely produced and high energy, but things took a calmer turn in the last third as a piano appeared atop a staircase on the back of the stage. Stump ascended and took a moment to revel in his vocals by himself, playing a stripped-down rendition of “So Much (For) Stardust” that was more emotional than the studio version. Admitting to the fact that it was tourist behavior, Stump also played out a short cover of “Sweet Caroline,” a staple for artists visiting New England. During this portion of the set, the piano had technical difficulties, but Stump calmly acknowledged the support of his crew while they fixed the problem, displaying professionalism and grace.

Energy levels rocketed up once again as the group played their final songs, with the closing tune “Centuries” making almost every audience member sing along. Fall Out Boy exited the stage with a simple “Thank you!” from Wentz, with the closing music communicating everything that needed to be said.

Fall Out Boy’s headlining performance was a reminder of the band’s longevity, displaying hits from across three decades. Without a doubt, it made Boston say “thanks for the memories” — although this time, the memories were definitely great.

—Staff writer Hannah E. Gadway can be reached at hannah.gadway@thecrimson.com.