I was young enough when I first heard Folie that I wasn't going to think too deeply about the complexity of bassist-lyricist Pete Wentz's flippant lyrics (or on the subconscious grooming that took place in misogyny-riddled emo in general), but old enough to be fully consumed by the angst that I'd already experienced, and connect with sonic portrayal of the very different angst that a group of 20-something-year-old men were throwing onto an album.
Tracks like "Disloyal Order of Water Buffaloes" and "(Coffee's for Closers)" are now as excitedly received by fans as earlier songs. From the five years post- Folie and onward, there's been an unspoken shift amongst fans as well. Looking back on it now, Folie seems to marry the band to the era of emo in a much more seamless way than all of their preceding albums. But, in retrospect, it isn't quite that simple, and certainly not that dramatic. Those fans had internalized the canon of FOB music, and Folie felt like a turn away from everything they loved. This was Fall Out Boy's first major brush with fans who demanded they put a stop to their creative exploration and growth. An entire decade has passed since the release of Fall Out Boy's widely panned fourth studio album Folie à Deux a decade since the subsequent five-year hiatus of a band that had served as a cultural signifier of the early aughts, but which suffered a major backlash because of this one album.įall Out Boy vocalist Patrick Stump spoke of the emotional toll that fans' negative reaction to Folie took on the band in a blog post at the time, writing, "Touring on Folie was like being the last act at the Vaudeville show: We were rotten vegetable targets in Clandestine hoodies." Playing songs from the album resulted in audience's booing the fans wanted nothing to do with the record-even if they had just bought tickets to attend a tour in support of that same album.
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