![]() ![]() “I think it’s very much in the realm of possibility that AI starts writing songs, that the songs start being good, whatever. ![]() “They prompted it to write a Fall Out Boy song and then showed me the lyrics going, ‘Wow, look at this!’ I’m going, ‘Those are the worst lyrics I’ve ever read.’” At the current pace of improvement, though, the AIs could be cranking out their own “Thnks fr th Mmrs” in a fortnight, particularly if it finds a way to sabotage Grammarly. “I feel like this record is stripping away any of that, it’s very low-tech as a record.” Are they concerned about AIs taking their jobs? Stump laughs, recalling how a family member had once shown him ChatGPT in awe. Stump contrasts the record with the “cyborg” sounds of Mania. It needed to happen there needed to be a release of some kind.” “There’s a reason when you’re at the mall and you’re smelling perfumes, they give you coffee grinds in between, because you need to reset,” says Wentz. “It was like, ‘If we need to figure it out to make it fit the ear puzzle people need, let’s make it the most extreme version of that’,” he says, “and I think you can hear the frustration on Mania.” The band now consider it a “palate cleanser”. Wentz explains that the album was their attempt at navigating an American music landscape unfriendly to traditional rock bands. “At times, that record is our most impenetrable and experimental, in addition to it being probably our most pop at certain points,” Stump says. By 2018’s chart-topping Mania, the band were experimenting with cutting-edge electronica and synthpop – to the bafflement of some hardcore fans and critics. Maintaining this devil-may-care attitude has made for an adventurous second act unlike so many other rejuvenated bands, FOB have played it anything but safe. And so, it was kind of freeing, you got to just go in and make this record and, of course, it ended up being a big moment for us.” “No one was really asking for one from us or really looking for us to do one. At that moment, there wasn’t a big zeitgeist of, ‘Hey, when’s Fall Out Boy doing another record?’” says Stump. “We just went in and made a record, and we had fun with it. In 2013, following a dark but cleansing three-year hiatus, which saw Wentz divorce his first wife, pop singer Ashlee Simpson, and Stump blow most of his savings on an unsuccessful solo career, Fall Out Boy’s second phase kicked off with a US No 1 comeback album Save Rock and Roll. The sort of memories stirred up as Fall Out Boy arrive in London for a relatively tiny gig at under-the-arches club Heaven ahead of the release of their eighth album So Much (for) Stardust. Or the riots that kicked off at hometown gigs as this iconic Illinois emo punk band – Stump, Wentz, drummer Andy Hurley and guitarist Joe Trohman, who is currently on hiatus for mental health reasons – began their rollercoaster journey to stadium glory. The time three people showed up to watch them play a pizza parlour. There was the night that the stage collapsed beneath them at Chicago’s Knights Of Columbus club. ![]() Wentz – provably alive and sporting a flowing dyed-blonde mane where he’d once modelled emo’s most swooned-over fin – laughs along, recalling other show misadventures. “I was like ‘Is he actually dead, or is he gonna wake up and be p***ed off that we’ve stopped the song?’” If your bandmate looks like he may have just died onstage, do you keep playing? “His head hit this thing hard, and he was out,” the Fall Out Boy singer says, recalling an early club gig during which bassist and lyricist Pete Wentz took a bad fall. With a trace of terror in his eyes, Patrick Stump is reliving the ultimate punk rock dilemma. ![]()
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