Pierce the Veil
w/ Sleeping with Sirens, Beach Weather
at Credit Union 1 Amphitheatre, Tinley Park, IL
06.07.2025
When a band has been around for nearly twenty years, odds are that they’re either surpassing their peak success, or just getting into it. For Pierce the Veil, it is most certainly the latter. Seeing them perform to a crowd of nearly 27,000 fans at Tinley Park’s Credit Union 1 Amphitheatre, their largest headlining crowd of their career – it is obvious they have created something profoundly special with their music that will only continue to grow and thrive.
The I Can’t Hear You World Tour is the band’s own spin on an Eras Tour, with a set that spans their entire discography, all five albums, a shuffled mix of singles and fan favorites that have seen immense success over the past two decades. The tour’s opening acts include Beach Weather, Cavetown, Crawlers, Daisy Grenade, Hot Mulligan, and vary from date to date (Tinley has the pleasure of watching Beach Weather), with direct support Sleeping with Sirens on every date of the tour (note: this is these two bands’ fourth time touring together, and is a major nostalgia kick for the oldhead fans).
When the gates open at the CU1 Amphitheatre, cars crunch over the gravel of the parking lot, lining row after row, and it suddenly feels like 2012’s Vans Warped Tour all over again. Girls in bridal veils and runny eyeliner with cheap bouquets walk past, knee high Converse over fishnets and short skirts. Almost every other person that walks past has on rubber wristbands circa 2010, along with beaded friendship bracelets and kandi galore. There are a fair share of arm socks, button up shirts and loosely-done ties (think Avril Lavigne in the old days), and fuzzy boot covers. Even the classic ripped skinny jeans and baseball tees have their place in the crowd. The demographic for this show has made it very apparent that they’re soaking up the scene energy, and this genre was never a phase, but a pivotal youth experience that they are elated to continue into their twenties and thirties.
Right around the time that swarm of scene concert-goers start to make their way into the amphitheatre, the first act of the night, Beach Weather, begins to dig into their set. An indie rock band founded by A Rocket to the Moon’s Nick Santino, they are groovy, funky, and a hell of a good time. Opening with “Chit Chat” and “Unlovable,” they definitely knew how to keep the crowd movin’ and groovin’. With only a little over a half-hour long set to warm up the night, they kept it moving through a set of some of their best work, and wrapped up with their platinum hit “Sex, Drugs, Etc.”
Following Beach Weather, a band that goes hand-in-hand with Pierce the Veil like peanut butter and jelly takes the stage. Sleeping with Sirens, who have also been a staple in the alternative scene for decades, know how to perform. They take that crowd right back in time with a setlist that is stacked from beginning to end. It feels just like watching them on the Monster Energy Stage at Warped 2012 by the time they get into “Tally It Up: Settle the Score”, and the crowd is absolutely ballistic during the classic deep cut that is “A Trophy Father’s Trophy Son” immediately afterwards.
Tinley Park is also a little bit spoiled during Sleeping with Sirens’ set, as they get a change-up from the band’s typical setlist. Usually, about halfway through, the band performs “Scene Five: With Ears to See, and Eyes to Hear” off of their acoustic EP, If You Were A Movie, This Would Be Your Soundtrack. However, this was not the case for Tinley, where fans were gifted a special treat – “Scene Two: Roger Rabbit” at the request of a fan who spoke to the band earlier in the day. This might not seem like a huge deal, but on a tour of this scale, doing a last minute setlist switch-up is definitely something that takes work from the band, their sound and light team, etc. It is very clearly appreciated by their fans, who are screaming every word to this acoustic song in the amphitheatre on Saturday night.
After a few more heavy hitters (“James Dean”, “If You Can’t Hang”, etc), the band says their farewell, and the crowd is absolutely wired from their set. Any last minute gaps in the lawn begin to fill in, the rumbling wave of voices buzzes like electricity in the air, and it is clear that everyone in attendance is absolutely itching for Pierce the Veil to take the stage.
Once the lights go down and those black curtains are pulled taut, the hum of the crowd is deafening. Suddenly, each of five curtains shows an emblem for one of Pierce the Veil’s albums in glowing red, and somewhere behind said curtains, the band is getting ready for the show to start. “El Rey” by José Alfredo Jiménez pours out of every speaker in the amphitheatre, and in seconds, a majority of the crowd is singing along at the top of their lungs. Pierce the Veil has never held back their latin heritage, be it in their songwriting (songs like “Besitos” or “Stained Glass Eyes and Colorful Tears”) or their live performances (they’ve had flamenco dancers onstage, mariachi intros, and even Dia de Los Muertos skulls onstage). Seeing them amp up the crowd’s energy with “El Rey” before the curtains even dropped? Both genius and legendary. Mexican flags waved in the audience, fans were swaying and singing, and the show had still only just begun. And then came “Death of an Executioner”.
The second the song began, the crowd was shrouded by the smoke, the lights strobing in yellow and green and white, and all of the band’s members were moving onstage like firecrackers. Bassist Jaime Preciado knows how to rile his side of the audience up, jumping up on the risers and leaning out over them while he grins ear-to-ear. Mouthing every word, he is just as much a Pierce the Veil fan as a member, and it is fantastic to see. His opposite, Tony Perry is reserved in his crowd interaction, but all of his energy goes into his insane headbanging as he shreds on his neon guitars all night long. Vocalist Vic Fuentes croons into the mic during songs like “Bedless” and “She Makes Dirty Words Sound Pretty”, but also swings his guitar, spinning on his toes and kicking into the air during songs like “Pass the Nirvana” and “Caraphernelia”.
Regardless of how far into the set the show moves, the energy between the band and the fans is a live wire, and it is bouncing electric shocks back and forth like a ping-pong ball. The sheer insane excitement from fans all over the amphitheatre is tangible during songs from every album – and The band does not stop matching that energy for a second.
By the time the set is a few songs deep, it is pouring rain on the lawn, and everyone is soaked by the halfway point of the night. Nobody complains, though – everyone is too busy screaming the words to every single song from “Hell Above” to “Emergency Contact”. The hysteria hits a new height during the encore, though. A trifecta of fan favorites back-to-back has everyone going wild, regardless of weather, time of night, you name it. “Disasterology” has everyone completely amped, and following it is a song that has had a sweet spot in plenty of fans’ hearts for over a decade now: “Hold On Till May.” Vic thanks the audience again for their support and for a fantastic show, for the amount of love they have given this specific song, and for, of course, “holding on until May.” As if the finale couldn’t get any better, they top it off with the perfect choice, and a complete no-brainer – “King for a Day” featuring Sleeping with Sirens’ very own Kellin Quinn. As mentioned earlier, the two bands shared a stage on the Vans Warped Tour quite some time ago, and have toured together a few times since, but seeing the band with Quinn on the same stage they shared at the 2012 Vans Warped Tour for a crowd not nearly this massive? Priceless. And the fans’ response is loud and clear so that the band can hear them when they scream, cheer, and shout all the way to the parking lot about how this has been Pierce the Veil’s best tour yet.
