Pierce the Veil Brought Legendary Emo to Red Rocks
June 22, 2025Photos: Béla Kershisnik
Every subculture has an artist who can serve as the unofficial embodiment of their movement. While no subculture can be reduced to a single act, its essence can often be distilled into one band. No artist symbolizes the angst and relatable melodrama of the 2010s emo movement more than Pierce the Veil. Founded in 2006, PTV established their popularity by playing Warped Tour and maintaining a vigorous touring schedule. On June 19, 2025, PTV’s “I Can’t Hear You” tour served as their debut performance at the legendary Red Rocks Amphitheater in Morrison, CO.
The June heat scorched the hills of Morrison like any other typical desert afternoon, but the blaze was finally quelled by the sinking sun and some sparse cloud cover. After navigating a labyrinth of roads and perplexed staff, we finally reached the shuttle pickup and entered Red Rocks from backstage. This was only my third time at Red Rocks, and I was shocked to have already been privileged to see the backstage of this historic venue.
Shaking off this brief moment of sentimentality, we passed the security guard and joined the rest of the concertgoers. The opening band, Beach Weather, was playing. The energetic performance of their blues-influenced alternative rock definitely deserves a mention. I left my fellow photographer at their post and paced the entire venue while it was still calm enough to leisurely stride around. This show was sold out, and I was well aware that soon, I would be wading through a jungle of skinny jeans and teased hair.
As the sky blackened, the air became agreeable for the first time since the morning. I stood at the peak of the amphitheater and was reprieved from the heat even further by a cool breeze. The scattered lights of Littleton and Lakewood dotted the sky behind the stage. By this point, Sleeping With Sirens, another prominent 2010s emo band who delivered a polished, noteworthy set, were already halfway through their performance. Attendees had been gradually piling in, exponentially faster now. The steady influx of dangly chains, straightened bangs, and spiked collars served as a stark contrast to the classical and nearly mythological beauty of Red Rocks Amphitheater.
After SWS finished their set, the venue was packed to capacity. Not a bare spot in the crowd could be found, and in fact, my assigned seat had been hijacked. I opted to keep roaming around, constantly battling against the reasonable requests from staff to not block the walkways. Fans were cheering, elated, and nostalgic. Having grown up in this era (though I was disconnected from this scene at the time), it was a time capsule back to my freshman year in 2012. The snake bites, eyeliner, and dyed hair were all exactly how it used to be. It felt like half of my Facebook friends were there. I did get recognized by friends and acquaintances several times.
Suddenly, the lights darkened. Dramatic ambient music began, accompanied by the drummer behind the kit and visual accompaniment on the screens by the stage. As the rest of the band rushed into view, the lights came on, and they played the first riffs of their opening song, “Death of an Executioner.” The crowd erupted into a choir of cheers, screams, and applause. My head was immersed in a 360-degree panorama of raucousness and fervent reverence for a time that once was.
The second song in their set, “Bulls in the Bronx,” showcased some of their most clever musicianship. Through catchy metalcore guitar leads and a funky groove, even a PTV-hater would have to admit the musical abilities of this group. This track pays homage to their Latin heritage, and the entire venue clapped along to a cumbia- and tropical-inspired section in this tune.
The band amped up their energy with their third song, “Pass the Nirvana.” Their hardcore influences shone through here, being their most aggressive song yet. The lyrics to this track are where the name of the tour is derived, with vocalist Vic Fuentes shouting, “I can’t hear you!” as the lyrics were prominently displayed on the screen behind them. A majority of the crowd knew every word, singing along with an undeniable passion.
Other highlights of the night included an unexpected partial cover of “Where Is My Mind?” by The Pixies, to which the crowd sang Kim Deal’s iconic “Oooo-ooooo” in the background. An acoustic rendition of “Today I Saw the Whole World” was played halfway through the set, adding a deeply emotional and introspective element to the night. Another great moment was the group’s return for the encore, with Fuentes screaming through a megaphone amid a fog-drenched red backdrop.
For their final song, Kellin Quinn, the lead vocalist of Sleeping With Sirens, was brought on stage to perform the hit song, “King for a Day,” on which he was originally featured. The audience was more engaged than ever, showing how deeply ingrained this track was in their minds. Anywhere you stood, you could hear fans shouting along. Glitchy video of the band played on the screen behind them as they riffed their way through this emo-pop anthem. As the track came to its end, thousands of impassioned fans roared with applause and cheering. The group stood together and faced away from the crowd for a picture, to mark the occasion of their first performance at the iconic venue.
Even as somewhat of an outsider to this scene, I have grown to appreciate the musicianship and unapologetic expression of emotion that 2010s emo music encouraged. There is a true talent to crafting the genre-bending earworms that managed to captivate millions of people globally. Their performance certainly resonated with the crowd in a way that any band that is almost 20 years old could only dream of. The serene beauty of Red Rocks and the barrage of 2010s throwbacks created a surreal and bittersweet type of nostalgia that is difficult to express.
