As Coheed and Cambria takes the stage, the tattooed and leather-clad crowd cheers. The ethereal “Pretelethal” begins the show, a lament by Sirius Amory as he descends into the Keywork, the force that holds together the 78 planets of Heaven’s Fence, the extraterrestrial setting of the seven concept albums Coheed and Cambria has produced over the past eleven years.
The mythos behind these albums is extensive, outlined in accompanying graphic novels written by the band’s front man Claudio Sanchez. The storyline is referred to as the Amory Wars, in which Coheed and Cambria Kilgannon and their son Claudio are responsible to fight against the megalomaniac Wilhelm Ryan. The Afterman: Ascension and The Afterman: Descension are the precursors to their story. The albums relate the story of scientist Sirius Amory as he explores Heaven’s Fence to discover how “The Keywork,” the energy that holds the planetary system together, functions. Throughout the show, the double triangle symbol on stage played the role of the All Mother, which is Amory’s sole companion throughout his voyage in space.
Confused yet? It’s okay; you don’t need to know the story to enjoy the music. The show featured tracks from all seven of their albums, with the emphasis more on flow and variety than weaving together the Amory Wars plot. Fans moshed and crowd surfed to the more hardcore songs, such as “A Favor House Atlantic,” “Key Entity Extraction III: Vic the Butcher,” and “Here We Are Juggernaut.” Coheed and Cambria also played some acoustic tunes, such as “Wake Up” which was dedicated to Sanchez and his wife’s fourth anniversary. The final encore featured “Welcome Home,” the band’s most famous song. Sanchez jammed on his double neck guitar as shirtless men displayed their Coheed and Cambria tattoos in the biggest pit of the show. As a satisfied fan base swarmed out of the Fillmore, the streets were more reminiscent of a punk bar crawl than South Beach.