With a stern scene of self-possession and his unmatched stage tenacity, Healy approached his house, the easeful set on stage, and glowed as he welcomed us home. Intertextuality and postmodernism remain at the forefront of everything they do, The 1975, still at their very best.
Being Funny in a Foreign Language, The 1975’s fifth studio album and most recent release soaked up a lot of space during the initial section of this, rather extensive and diverse, setlist. Its goopy guitars are particularly eloquent live, serving up a stew of noise that is so undeniably The 1975’s brand.
It would be rude not to comment on the stage set and dramatised performance aspect of this show. Yet somewhat familiar to last year’s set, with a few extra trinkets, it was a spectacle nonetheless. I, like many other of their admirers, find comfort within the dreamscape of this band. World building is a strong point of theirs, and it always has been. The 1975 have this finesse of building a commonplace that really does allow the audience to revel in its serenity.
Like so many faces in the audience, I grew up with my teenage years soundtracked to this silly alternative pop band and they really had a concisely selected set list to cater to us now mid twenties sad adults. As the illusory synths of ‘An Encounter’ slowly began to credendo, we all know what was up next, and our hearts will never be prepared for those god forsaken first 4 notes of ‘Robbers’ A gut wrenching, basically cult classic bellowed from the stage. The crowd almost drowned out the band, as we revelled and savoured the moment of that final outro. Following this, the atmosphere lifted as we were blessed with the twinkling piano and roof top rendition of ‘So Far (it’s alright)’ also from the Self Titled era AKA the doc martens and tumblr kid age that soundtracked the 2010’s.
Tim Healy, Matty’s dad, appeared on stage next as Matty gazed at him with glassy eyes as he performed vocals for ‘All I Need to Hear’ adding a touch of sentimentality. As we move on through the set, we get to Matty’s consumption… the part of the set that displays the most amount of these postmodern ideals The 1975 really hammer home. Concocting these theatrical, self referential performances that reflect on the state of the world’s politics we are living through. With boisterous references to over consumption of media, Matty proceeded to gaze into the static television screen that he eventually climbs through and disappears from sight. Band’s self awareness is criminally addicting as Matty appears again, lying on the grass covered stage in the centre of the arena behind the sound desk.
As Matty made his way back to the main stage, guitarist Polly Money led the vocals for ‘Jesus Christ 2005 God Bless America’ and I cant believe I’ve got this far without mentioning her exquisitely angelic presents.
The tone jumps to change as we enter the ‘at their very best’ section of the set, where they play more optimistic and buoyant tracks like ‘If You’re Too Shy (Let Me Know)’ and ‘TOOTIMETOOTIMETOOTIME’ off of their middle child album A Brief Inquiry Into Online Relationships. Following this, they indeed got the entire arena bouncing to timeless pop classic ‘The Sound’
Concluding the set with perhaps the best decision, Matty, Ross and Ross appeared on the sound desk stage to round off the evening with ostentatious close. Riffs of ‘People’ – The 1975’s heaviest, most enraged and politically motivated track. It definitely had the crowd split and I think this was a really intentional decision. But as someone who loves heavier music, to me, it was the perfect farewell.
Words by Kate Feast
Photos by Jordan Hughes
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