“All You Sinners Stand Up, Sing Hallelujah”: Panic! At the Disco, Religious Rhetoric, and Semiotics
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Note: This article was backdated to the 2024 issue but actually published in 2026.
Abstract: This article explores the relationship between Panic! at the Disco's discography and spirituality, utilizing communication ethics as a hermeneutical entrance for understanding the tie between the two. Brendon Urie, the frontman of the band, identifies as Ex-Mormon and utilizes religious themes both lyrically and visually in his work that symbolizes his personal spiritual experiences and willingness to turn away from traditional norms. Using semiotics as a theoretical touchstone, the essay identifies the goods being protected and promoted through Urie's artistry related to religious symbology in his creation of a counter-narrative that he and his fans can hold onto in spite of the institutional letdown they may have experienced in more traditional religious settings. The first section, “Semiotics and Music: An Overview,” provides a brief entrance into how semiologists explore this form of rhetoric, laying down the theoretical groundwork for this project. Next, “Panic! at The Discography: Spiritual Constructs” provides insight into the presence of religious and spiritual themes in the music, lyrics, and visuals associated with the band, homing in on some major examples throughout the band’s discography. Finally, “Spinning a Counternarrative: Combating Institutional Letdown with Semiotics” delves into the implications surrounding semiotics, music, and communication ethics, discussing how Panic! at the Disco works to create a counter-narrative that fans can turn to in the midst of existential mistrust to forge a community of their own.
