SAN FRANCISCO — Panic! at the Disco brought plenty of firepower to its ambitious Tuesday night show at Chase Center. Brendon Urie and company opted to roll the dice on a set that included its latest album, Viva Las Vengeance, along with a dozen of its biggest hits. When the show worked, it worked incredibly well.

Opener “Say Amen (Saturday Night)” was absolutely scintillating. Purple and red hues shined through the smoke that filled the stage as columns of fire and bursts of flames and fireworks shot upward. The bombastic beginning set an immediate tone. Songs like “Hey Look Ma, I Made It” and “Don’t Threaten Me With a Good Time” kept the upbeat and anthemic momentum. Urie effortlessly belted as he made his way around a stage with a square ramp that encircled a pit of fans.

Sparks rained down from hanging rigs above the stage on “This is Gospel.” The choreography of the pyrotechnics was beautifully constructed, with quick blasts often matching right up with Urie’s singing. His band (this is more of a solo project at this point) was an absolute force, with anywhere from three to a dozen musicians on stage at a time, including horn and string sections. The band brought the tracks to life with layers of instrumentation and harmonies.

The show’s first act ended with the heavy dark grooves of “Miss Jackson” and “Emperor’s New Clothes.” An interlude video of the band getting hit in slow motion by everything from water balloons to smoke cannons played on a screen during a production changeover. What followed was  a set within a set as Panic! at the Disco played its entire new album from front to back. More musicians came onstage, lights brightened to match the glitz and the clock turned back on the retro glam-inspired material.

Viva Las Vengeance is perfectly suited to be played live. That was accentuated even more with the band absolutely cooking. Opening with the title track, Panic! moved right on through “Middle of a Breakup,” “Local God” and “Don’t Let the Light.” Urie sat down behind the piano for “God Killed Rock and Roll.”

This set had the energy (more pyrotechnics), attitude and plenty of strong tracks, with the string section mixing in orchestral interludes between them.

The tough part about playing a record like Viva Las Vengeance in its entirety is that it’s less familiar to some. That created a 45-minute gap between songs to which everyone could sing along. It helped that Urie is a tremendous showman and his charisma carried the performance through most of the way. But about the time the end of the record, it was increasingly apparent that fans were getting antsy for something they knew.

Luckily, that arrived just in time with the mid-tempo “Girls/Girls/Boys.” Attendees had been given paper heart cutouts and were asked during this song to shine phone lights through them. The effect was beautiful and created a unique twist on what’s—at this point—a traditional concert element.

“That was a show for me, too, right there,” Urie said.

Urie didn’t speak much between songs, thanking people for showing up a handful of times and his crew for putting the tour together night to night.

The band finished strong, closing with hits at a breakneck pace. Urie played piano on “Nine in the Afternoon” and led crowd in a singalong of jazzy anthem “Death of a Bachelor.”

“I know I’m supposed to be brooding and serious, but I can’t stop smiling,” he said late in the performance.

The crowd reached a fever pitch on “I Write Sins Not Tragedies,” with Urie turning the microphone toward the first few rows. The show peak came during “Victorious,” another visual spectacle with everything from lasers to flames. Naturally the show concluded with the anthemic “High Hopes,” complete with a confetti cannon raining down on the crowd.

Welsh singer-songwriter Marina Diamandis, who now goes by MARINA, preceded Panic! Diamandis‘ brilliant dozen-song set showcased the singer’s range. Opening with the title track from newest album Ancient Dreams in a Modern Land, Diamandis and her backing trio rolled through material from that album. Wearing a feathery neon green top over a jet-black leather jumpsuit, she was a spark plug, keeping the energy up throughout the entirety of her 40-minute set.

Mixing in tracks like “Man’s World” and the terrific “Purge the Poison,” Diamandis brought a dynamic energy to the stage. With just a pair of shows left on the calendar, Diamandis thanked Urie for taking her on the road, as Chase Center was her last date on the tour.

“The is the Electra Heart portion of the show,” Diamandis said before the trio of “Primadonna,” “How to Be a Heartbreaker” and “Bubblegum Bitch.” “I’m glad to hear we have some primadonnas in the house.”

Diamandis also mixed in a handful of songs from FROOT and The Family Jewels. Diamandis also showed off her impressive range. If the crowd seemed to cheer a little louder at times, it may have been from the healthy contingent of friends and family at the show for her’ guitarist, which was 20-strong.

Singer-songwriter Jake Wesley Rogers opened the show. Mixing the pop of Elton John, David Bowie and Lady Gaga—clear influences—Rogers was a compelling and bold figure on stage.

“I’m Jake and I come from a place called Missouri,” Rogers said. “I know that’s the Bible Belt. I like to think I’m the rhinestone on the buckle.”

Decked out in all white, Rogers showed of an impressive vocal range during his six songs. He looked comfortable on stage, given that it was not only his first arena tour, but his first tour of any kind. Rogers threw in a cover of My Chemical Romance’s “Welcome to the Black Parade” in the middle of “Cause a Scene.”

Follow writer Mike DeWald at Twitter.com/mike_dewald. Follow photographer Karen Goldman at Twitter.com/Xposure120 and Instagram.com/karenshootsmusic.