The 1975 live: A band on the brink of worldwide stardom
In the space between the end of the main show and the expected encore was a chant.
It was funny in a way, and perhaps disturbing to a few parents who accompanied their kids inside the MOA Arena. The crowd was maybe 98% female; the occasional male would be dressed somewhat like the Manchester-hailing band, or dragged haplessly by a girlfriend.
The screams amplified by the cavernous arena became one huge high-pitched chorus demanding: “We want 'Sex!'"
Fans want ‘Sex’
Matt Healy, his hands alternating between a cigarette and a bottle of wine, and consequently projecting an air of wiry sensuality, does seem to be inviting the request.
He sits behind the piano and plays “Is There Somebody Who Can Watch You,” channeling his inner John Legend, and perhaps also hinting at compositional skills beyond The 1975’s more straightforward 80s influenced material.
The song is well received, of course, but the chants return. “Sex” is one of the band’s biggest fan favorites after all.
Healy sips from his wine bottle and responds, “You have no idea.”
Bigger in Manila than anywhere else
“Welcome to our first show in an arena!” Healy said earlier on, but he is just as easily welcoming himself and the band who are used to smaller venues (and apparently, they are bigger here than anywhere else in the world, so far).
The concert began with a droning loop that rose in volume as the lights dimmed at an equally glacial pace. In a small club, it would have given a chilling and mysterious atmosphere; in an arena with vocalized estrogen, it amounts to patience-wearing foreplay (for the screamy girls anyway) teased by the occasional roadie sound checking the instruments.
Healy kicked off his shoes on “The City” and the band launched into a show that had one foot in pop élan and the other in indie atmospherics, recalling a more rocked-out and funked-up Chvrches in some areas, particularly on “Chocolate.”
More forceful live than on their records
Live, Healy loses the heavy Mancunian accent in the studio albums (which has contributed to their sound and has inspired some Anglophilia amongst their fans) and sang mostly in a slightly lower timbre.
The band performed assuredly, and more forcefully than the studio recordings would imply, from George Daniel’s technical finesse on the drum kit, to Ross McDonald’s gigantic driving bass to Adam Hann’s precise rhythm guitar and textures, the opening synth pulse to “Heart Out” eliciting excitement from the pumped-up crowd.
The brief instrumental interludes showed the band keen on providing a dynamic show, effectively quieting crowd response on occasion. Otherwise, it would have been an endless torrent of shrieks.
A genuine rock star on the rise
From his curly hair to the loose shirt, Healy seemed to be channeling the late Michael Hutchence as he freely swigged from his wine bottle and flailed away with his guitar: a genuine rock star on the rise.
The wine probably influenced some of his more philosophical spiels: “This microphone is not only to amplify my voice, it’s to amplify our consciousness and our awareness of everybody else in the room.”
Or just plain tipsy as he pauses, regains his wits and walks the stage, “This is a big f**king place… it’s so far from here all the way over here. It’s a f**king nightmare.”
Kid in a playground
It is charming: a frontman aware of his potential power one moment and a kid excited to be in a new playground the next.
Or a musician who might burn himself out too soon. (So far, Healy still has enough of his bearings to rebuff those Taylor Swift relationship rumors.)
It is interesting to see a band on the cusp of worldwide consciousness.
“For one song… listen to me…I want everybody to put your phones away… I can see you!” he points to fans in the upper section and mock admonishes them. “Don’t wave at me! Put your phone away! (laughs)” before playing the melancholic “Me.”
Still, the crowd put their phones on flashlight mode during the song, waving in sync, and illuminating the performance like sea anemone.
They shall return
During the encore, he tells the crowd to raise hands, then put them down, and everybody readily complied. It is slightly chilling and reminiscent of the crowd command exhibited by the late Freddie Mercury of Queen.
The crowd was given “Medicine” and yes, “Sex.”
“We’re deep into our next record and as soon as we’re finished, we’re coming straight back here.” proclaims Healy. The enthusiasm on the stage and off it was reciprocal. Hopefully, Healy will still have his wits about him should it happen.
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