The 1975 – Review
Manchester HMV Ritz
September 21st
2013
I booked tickets for The 1975 a while back, and in that time
my opinion on the band went through several changes. The band emerged with two
very impressive pre-album singles and a fresh sound; my initial feeling was of
optimism. I then listened to the EPs and with that my optimism grew. B-sides
such as Me, Antichrist and Head.Cars.Bending
suggested that the lead singles were just a foundation for a much darker
building – one with a few skeletons hiding in the closet. Then, with the
release of the album I had a stroll around that building, and found a
disappointing lack of substance.
It’s definitely a matter of opinion, but the band seemed to
ignore the side of them displayed in the EPs and focused specifically on their
other side: the side that would surely gain them wider mainstream acclaim. It’s
fair enough. The album hit number one and The 1975 are enjoying instant success
in a difficult industry. However, I wonder how the album would have sounded if
those aforementioned skeletons had been given room to dance.
So the Manchester homecoming gig gave me a perfect chance to
finally make my mind up on the band. Their stage set up stayed true to their
artwork – a single outlined rectangle shone in the backdrop, powerful in its
simplicity.
Despite the phenomenal demand for tickets, the venue wasn’t
too crowded, and was filled with a mixed bunch (footwear choices ranged from
pumps to high-heels). The 1975 arrived, wearing typically black and white
attire, and began with The City, leather
jacket cladded lead singer Matt Healy taking the microphone for an early walk around
the stage and returning to centre for chorus keyboard duties. It was instantly
clear that Matt’s voice holds up live, which was one of my worries, but he hit
the notes effortlessly.
It is interesting seeing how bands with just one album
tackle these kinds of shows, The 1975 worked it well, mixing their B-sides in
with the album tracks - at this point, both are probably equally well known. My
problems with the album seemed distant once I was soaking up the live
atmosphere; songs such as M.O.N.E.Y have
an enhanced and genuine sound when performed. Matt, now wielding a guitar,
rocked out at every opportunity, his hair has a presence of its own.
There was a place for Head.Cars.Bending
mid-set, but it was the following track, Settle
Down, which provoked the first really bouncy reaction from the crowd. The
band are definitely driven by the charisma of their lead singer, however
drummer George Daniel deserves a lot of credit for his backing vocals. Daniel
adds emphasis where it is needed, and he is definitely the unsung hero of The
1975.
Even Girls (the
single which really made me question my allegiance to the band) had an
annoyingly infectious presence in the set and left me with nothing to say about
that more “poppy” side to The 1975. No, I still can’t take it seriously as a
standalone song, but you have to appreciate a track which can get a room
dancing.
A highlight for me was Robbers,
a polished live song that they toured for a long while before the album came
out. It progressively rises to a dramatic peak, both its sound and lyrically –
and this translates brilliantly to the stage.
Healy addressed his home town, thanking them for the crazy
year they’ve had, before counting into the band’s breakthrough single, Chocolate. He oozed confidence at this
point, allowing the crowd to sing large portions of the verses while he mouthed
the words from the edge of the stage. Obviously, the response from the audience
was massive, and the main section of the set ended at its highest point.
“We want Sex” was
the chant from the crowd, holding meaning for both the section of screaming
girls, and also the group of waiting pitters who lay dormant until this point.
The band returned, including a shirtless Healy who drew yet shriller screams
from the girls, who then began Sex. A
central pit appeared immediately - almost as if it had been there the whole
time. The song is perhaps their strongest to date: the lyrics a summation of
The 1975’s themes of teen-angst, the song’s strobe-friendly breakdown providing
a moment of pop-rock brilliance best saved for late in the set. The finale was
EP track You – and here, you could
really feel the love in the room for The 1975. Healy stood on the drum kit
during the outro, while the strobes flashed and the crowd bounced – the song
earning its place at the very end of the set.
Verdict: Although the set was short (only a little
over an hour), in that time the band managed to win me back around. They bring
with them a feel-good atmosphere, which is created credibly by a fine set of
musicians. The 1975 may have roots in the past, but they are a band who have a
definite place in both the present and the future of the UK music scene.
