For a sell out gig, it’s surprisingly spacious in Rock City tonight.

Granted, that’s because the majority of the audience are half the size of your average gig-goer, but you can’t fault the prepubescent emo kids for their energy this evening.

Panic at the Disco – back in their giddy days of extravagance, eyeliner and exclamation points – managed to earn themselves a ridiculously loyal following, both in the States and on our fine British shores. On their first trip to the UK with label-mates The Academy Is, Brendan Urie and co. gathered more attention than the headliners. And as tonight’s show draws a sell-out tour to a close, it’s more evident than ever.

Opening support comes in the form of Black Gold. Formed in 2006, the Brooklyn four-piece are an obvious choice to have on board for the Panic tour, with obvious influences from the likes of The Band and White Album-era Beatles.

The highlight of their miniscule set comes in the form of Plans & Reveries, as the band are joined by a certain Mister Urie. From the ear-splitting scream that rips through the venue, it goes down brilliantly with the crowd. The horrific screech is a sign of things to come for the rest of the night.

Next up, Metro Station are welcomed to the stage with an even louder reception, proving there are already a fair few fans in the building. Admittedly, their choice of hormonally-charged, electro-rock isn’t exactly unique, but nobody can fault Trace Cyrus’ front-man technique. It’s dramatic, and emphatic, and every teenage-girl-in-the-room’s tattooed dream.

By the time Panic hit the stage, the front of the crowd reaches pandemonium levels. Opening with the first track from their eagerly awaited second album Pretty. Odd., We’re So Starving sees Urie connect with the crowd from the word go. “Oh! How it’s been so long / we’re so sorry we’ve been gone / we were busy writing songs for… you!” the frontman beams at the crowd, and it’s hard to doubt him.

No time wasted in showcasing their new material, next is up is the ridiculous catchy single, Nine in the Afternoon, which is ten times better in a live setting than when it’s blasting out of the radio. Granted, it’s missing the orchestration that gives it its unmistakable Beatles flavour, but it still works like a charm.

Despite claims that they’ve turned their back on their synthesised emo roots, Panic blast through the majority of their debut, A Fever You Can’t Sweat Out as well as they ever managed before. The Only Difference Between Martyrdom and Suicide is Press Coverage and Build God, Then We’ll Talk are cemented as definite fan favourites, getting the loudest screams of the night so far.

On stage, there’s a definite sense of Ying and Yang. For every dramatic camera-friendly pose from Brendan Urie, there’s a shy head-dip from guitarist Ryan Ross. Unlike on past tours, though, there’s no sense of discomfort from Ross – he simply seems to be enjoying playing rather than performing, leaving the latter to his perfectly capable bandmate.

Ross dedicates the slightly sinister Lying Is The Most Fun to ‘all the single people’ in the room; getting those teenage hearts beating even faster, before Panic showcase another new track. She’s a Handsome Woman couldn’t be further from the material found on their debut album, and yet it slots perfectly into the set, proving just how Panic have mastered their niche.

The tempo drops again as Panic knock out an amazing cover of The Band’s The Weight. While it’s no surprise to anyone that managed to catch the Las Vegas Quartet at the Carling Weekend, it’s still a cracking choice for a cover, and the track’s tricky harmonies are executed to perfection.

Bringing the show back up to speed, There’s a Good Reason These Tables Are Numbered, Honey… gets a jazz-rework, showing that there are still more strings to Panic’s amazing bow.

As the night is drawn to a close, the band leave the stage for a moment. When Urie finally returns to chants of Panic! Panic!  it's solo. “Alright”, he laughs. “I was going to do an acoustic track for you. But there’s something missing… it goes do-do-do…”

He doesn’t even need to finish the opening line before the crowd take over, knocking out Time To Dance’s unmistakable backing at a deafening rate, and the chorus cries of “Shotgun/Wedding” can be heard from the main street outside.

Ending the night – and, indeed, their UK tour – with Pretty. Odd finisher Mad As Rabbits, Panic at the Disco finally leave the stage for good. And when you’ve been treated to an amazing all round show, it’s hard to wonder why so much attention is being spent on an exclamation point when the music is speaking for itself.

Pretty. Odd.? Perhaps.

Pretty Fucking Brilliant? Absolutely.