The 1975 (Manchester The Ritz): Review

The 1975 – Review

Manchester HMV Ritz

September 21^st 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.