Huddling under mounds of blankets in 10-degree weather for hours before the concert started made the forthcoming show seem that much sweeter. As soon as the doors opened, a couple thousand freezing teenage girls shed their scarves and snow-ridden coats in preparation for the experienced crooning of Matty Healy, lead singer of Manchester-based rock band The 1975. However, before the Brit band could take over the stage, two openers were sent out to warm-up the crowd.
The first opener, Young Rising Sons, was entirely forgettable. Aided with brightly flashing lights of red, blue and yellow, their performance did not extend past cookie-cutter indie pop. Their songs did spur on dancing in the crowd, but the set as a whole blurred together in a way that was utterly generic. The band also seemed to care a bit too much about gaining publicity—a photographer was running about onstage for nearly every song, which detracted from the group’s performance. The band also tossed out free shirts to the crowd, which made the whole affair seem a bit too polished. Shouldn’t a concert be more about the music than the money? This did not seem to be the case for Young Rising Sons. Overall, the group lacked a unique personality.
The second opener, CRUISR, played a much more enjoyable round of indie pop. They seemed to be much less concerned with their appearance, or even what the crowd thought of them; they simply went up on stage and jammed with their originals. They had more emphasis on the indie and less on the pop. More movement on the stage could have been implemented, but as a whole, their set was a very good warm-up for the main act. They were a bit more music focused and “real” than Young Rising Sons, which was relieving.
After intense anticipation from the crowd, The 1975 far surpassed all expectations. Their poise on the stage, lights, and music created a stunning show that made the audience feel like they were watching a sophisticated, yet gritty foreign film. Healy is a master on the stage; drinking wine straight from the bottle during the show, he does not simply walk, he saunters. He does not just sing, he performs. If The 1975 were a painting, Healy would be the painter. Healy also added an appealing aspect of androgyny to the show, wearing skin-tight jeans and a women’s shirt—feminine facets that added to the artistry of the show. The lighting was incredible, creating a black-and-white backdrop for the band.
However, even though Healy was the overt star of the show, there was an unsung hero brought out after a few songs—a glorious, talented saxophone player named John Waugh. Waugh seemed to have a reserved personality, but his playing was anything but. His appearance added a classy component that pushed the quality of the concert over the edge, while the saxophone added a sophisticated component that appealed to the few older members of the audience.
While Young Rising Sons left something to be desired, CRUISR, and especially The 1975, created a concert that should not be missed. With artful aesthetics and emotionally wrenching vocals, The 1975 create a performance that should never be missed. Next time they’re in town (Healy hinted at another tour of the USA very soon,) be sure to fork out the money, as long as you’re prepared to handle a crowd of screaming teenage girls.
