30 Seconds to Mars

Thirty Seconds to Mars began its journey in Los Angeles in 1998, a project born from the creative energies of brothers Jared and Shannon Leto. Jared, already known for his acting, took on lead vocals and songwriting, while Shannon anchored the rhythm section on drums. The band quickly developed a unique sound, blending progressive rock with atmospheric textures and a raw emotional intensity, setting them apart from many of their contemporaries. Their self-titled debut album in 2002 introduced this distinct style, but it was their second record, A Beautiful Lie (2005), that truly brought them into the spotlight with singles like “The Kill (Bury Me)”. This period marked a shift towards a more anthemic alternative rock sound, connecting with a wider audience.

As the band grew, their sound continued to evolve. Albums like This Is War (2009) embraced a grander, more electronic and symphonic rock approach, featuring large choirs and intricate production. This era also saw the band engage in a high-profile legal battle with their record label, which became the subject of the documentary Artifact, offering fans a glimpse into the challenges artists sometimes face. By Love, Lust, Faith and Dreams (2013), they were experimenting with pop and dance-rock elements, maintaining their signature emotional depth while expanding their sonic palette. Their latest works, including America (2018) and It’s the End of the World but It’s a Beautiful Day (2023), show a continued willingness to explore new genres, incorporating hip-hop and R&B influences before returning to a more introspective alternative rock sound. Through changing lineups and musical directions, the Leto brothers have consistently guided Thirty Seconds to Mars, maintaining their reputation for ambitious artistry and captivating live shows.[edit]

Thirty Seconds to Mars came together not through typical industry auditions, but from the natural creative synergy between brothers Jared and Shannon Leto. The two started jamming in Los Angeles during the late 1990s, a period when Jared was exploring music more seriously after returning from a film shoot. Their early sessions were a private, experimental endeavor where they developed the foundational sound and artistic direction for the project. Initially, they kept their musical pursuits relatively quiet, especially given Jared's rising acting career, to ensure the band was judged on its own merit.

The lineup expanded gradually. Bassist Matt Wachter joined in 2001, contributing to their debut album. Guitarists Kevin Drake and Solon Bixler were part of the band during its very early stages and initial tours, but their tenures were brief. The most significant addition to the core lineup came in 2003 with the arrival of Tomo Miličević, who took on lead guitar duties. Miličević remained with the band for fifteen years, becoming an integral part of their live performances and studio recordings before his departure in 2018. This gradual, organic formation allowed the Leto brothers to build the band's identity on a strong, shared artistic vision before fully introducing it to the world.[edit]

Thirty Seconds to Mars has always been a band that pushes its sound, moving through several distinct phases. Their 2002 debut, 30 Seconds to Mars, showcased a blend of progressive rock, space rock, and post-grunge. This early material was characterized by heavy keyboard use, atmospheric textures, and a somewhat darker, more introspective mood, often drawing comparisons to bands like Pink Floyd and Tool for its expansive soundscapes.

The band truly hit its stride with 2005’s A Beautiful Lie, where their sound evolved into a more accessible alternative rock, emo, and post-hardcore style. This album featured anthemic choruses and a heightened emotional intensity, exemplified by breakthrough songs like “The Kill (Bury Me)”. They refined this arena-rock approach further with This Is War in 2009, incorporating electronic, industrial, and symphonic rock elements. This record was notable for its use of large choir vocals, prominent synth pads, and a truly massive production, creating a sound designed for stadium-sized audiences.

By 2013’s Love, Lust, Faith and Dreams, the group ventured deeper into pop rock, dance-rock, and electronic rock, crafting hook-driven songs with a slicker, more polished feel. This trend continued with America in 2018, which saw them embrace contemporary pop, hip-hop, and R&B influences, even featuring collaborations with artists like A$AP Rocky. Their most recent effort, It’s the End of the World but It’s a Beautiful Day (2023), marked a return to a more stripped-down alternative rock and pop sound, offering introspective lyrics and a more direct musical approach, showing their continued willingness to adapt while retaining an emotional core.[edit]

Thirty Seconds to Mars has carved out a unique space in the music world, especially in how they connect with their audience and approach visual storytelling. Their elaborate music videos, often directed by Jared Leto under the pseudonym Bartholomew Cubbins, are known for their cinematic scope and thought-provoking narratives. Videos for songs like “The Kill (Bury Me),” “Kings and Queens,” and “Hurricane” are frequently discussed and analyzed by fans and critics alike, pushing the boundaries of what music videos can achieve as an art form. These visuals have not only defined their aesthetic but also inspired other artists to consider the deeper storytelling potential of their own work.

Beyond their music and visuals, the band’s influence extends to their dedicated fan community, the Echelon, who are known for their fierce loyalty and active participation. This engagement is a core part of the band's identity, fostering a sense of shared purpose and collective experience. The band's extensive touring, often involving hundreds of shows in a single year, also set new benchmarks for rock acts, demonstrating a commitment to reaching fans globally. Their legal battles with their record labels also brought important conversations about artist rights and industry practices to the forefront, influencing discussions within the wider music community about fair contracts and creative control.[edit]

The fanbase for Thirty Seconds to Mars is known as the Echelon, a term that signifies a strong, organized, and devoted community. This group of fans is famous for their active participation in the band's projects, often contributing to music videos, album artwork, and promotional efforts. A prime example is the record-breaking number of fan-made music videos submitted for their song “Up in the Air,” showcasing the community's creative spirit and dedication.

Echelon members frequently engage in fan projects, from organizing meet-ups at concerts to creating intricate fan art and social media campaigns. The band has always fostered a direct relationship with its followers, sometimes inviting them to participate in recording sessions or appear in their videos. This direct connection has helped build a powerful sense of loyalty and belonging among the Echelon, making them feel like an integral part of the Thirty Seconds to Mars journey. Their concerts are also known for being highly interactive events, where the Echelon's energy is a significant part of the experience.[edit]

During the recording of their album This Is War, Thirty Seconds to Mars invited thousands of their fans, known as the Echelon, to participate in recording gang vocals for several tracks, creating a truly communal sound. Jared Leto has directed many of the band's music videos under the pseudonym Bartholomew Cubbins, a character from Dr. Seuss books, including the elaborate and critically discussed videos for “The Kill (Bury Me)” and “Kings and Queens.” The band famously engaged in a protracted legal dispute with Virgin Records over contract issues, a struggle that became the central theme of their 2012 documentary film, Artifact. In 2011, the band earned a Guinness World Record for the most live shows performed by a rock band in a single calendar year, playing an impressive 309 concerts during their Closer to the Edge Tour. Jared Leto's distinctive vocal range often shifts between a powerful baritone and an emotive falsetto, contributing significantly to the band's dramatic and theatrical sound.[edit]