The 1975 - The SSE Arena Belfast, 9th January 2019

The 1975 - The SSE Arena Belfast, 9th January

“I just hope they play Lostmyhead”

“Last time I saw them, they played The City and I actually near died” 

“Here. If they don’t play Love It…”

There are few acts that can whip up such audible hysteria on the journey to the venue, and yet as I watch a medley of fishnets, tight trousers, baggy sweatshirts and snapbacks ample past me, I find myself wondering exactly what the legacy of The 1975 is. It speaks to the depth of their literature that everyone from the fashionistas to the emo skaters has joined the entry line (the longest line I have ever begrudgingly joined might I add. It felt like I’d nearly walked home by the time I reached the back). And yet is that not what A Brief Inquiry… is all about? The Mancunian quartet’s latest album was critical of modern social divisions, so it’s only right that fans would come from every corner of society. And as we did stand together, braving the fierce Lagan gale, the extortionate drink prices and the slow march to our respective viewing areas. I assumed my seat just as the first act took to the stage. The arena looked nearly full already. The foreshadowing was tangible.

Opener No Rome played an invigorating set of chilled, non-intrusive electro-indie-pop, making up for their lack of presence with a colossal sound. Note that their non-threatening stage persona was one of their strengths, as their relaxed demeanour was a suitable accompaniment for their inclusive sound, a comprehensive, friendly mix of EDM, indie and soul. Next to take the stage is Pale Waves, some of the headline acts hometown contemporaries. Their arrival was much appreciated by the row directly behind me (“WOOO! YEAHHHH!” came their review), and it was clear why. Their sky-high sound was a departure from our relaxed intro, an invitation for those willing and able to begin dancing. Frontwoman Heater Baron-Gracie remained a high point throughout, all attitude, punch and steely vocals. Fan favourites Drive and Television Romance are greeted with tangible cheers, and rightfully so. Despite their surroundings, Pale Waves managed to retain the delicate claustrophobia that makes them so popular. They gained a few extra fans on the night.

Once the openers leave the stage, a short eternity begins, one tinged with unease. Behind the smiles and laughter, there are whispers, hushed conversations about what to expect. This is The 1975’s opening show of the tour, and one of the first with a newly sober Matt Healy. What type of performers will they be now? Luckily, eternity passes quickly and the group marches on stage amidst a deluge of strobe lights and screams. Screams which only increase in volume as the opening drums for Give Yourself A Try begins. 

As the band begins their set, the entire stage lights up, a lexicon of geometric shapes which blur with lights and lyrics, and yet its hard to notice because every single pair of eyes is fixed upon Healy. The frontman is an infectious character, prancing around on stage with an undeniable joy that spreads out and draws you in, all gyrations, inaudible laughter and smiles. Playful and buoyant, he almost never stops moving throughout the first two songs (Give Yourself… and TOOTIMETOOTIMETOOTIME) except as they end, wherein he pauses briefly to soak in the eruptive applause. Peddler's of a sound that didn’t exist a decade ago, The 1975’s unique mix of indie riffs, rock pop grandeur and electronic sophistication is the perfect weapon for stadium concerts in the modern era, a sound that oozes passion and comfort despite its gargantuan proportions. 

As the electro kick of the next song pushes its way forth, Healy resumes his hip swaying and dad dancing, which somehow manages to transfix the crowd more than the hyperbole of the stage setup. The bounce of the frontman and co. is indelible, who seem to be enjoying themselves more than the crowd is. As the stage flashes pink and purple, the band prance and pout and yet they deny their own melodrama. It doesn’t feel put on, instead, there’s only a childlike glee, an absolute freedom to them that is syphoned off by fans from the first row to the last. Their boundless energy is compounded by one of the more impressive stage setup’s that I have seen, with features such as a collapsible back screen, celestial coloured cuboids and a treadmill that runs the length of the stage, something that Healy makes frequent use of. Less a concert and more a movie, it was a dominant performance by one of the defining bands of the 2010s.

As the second half of the show begins, so too do the hits, and I am struck by their discography. Girls, Always Wanna Die (Sometimes), Love It If We Made It, Chocolate and The Sound are rattled off in quick succession, and a full appreciation of the spectacle in front of you begins to take form. You may have paid for a gig tonight but you've been awarded an EVENT. A show punctuated by sharp contrasts (from the uniformity of the stage props, the variety of colours, the personal themes and the singalong hooks), The 1975’s new live performance is a monumental piece of sonic and visual art, and fully establishes them as one of the globes premier bands.

In the latest album from the four-piece, Healy stressed the need for communication and human connection. He seems to have achieved that, as almost every word of every song was belted out by an attentive and dedicated crowd. At one point, Healy takes a step back and laughs. He looks like he can’t believe himself. Indeed, there are very few in the world who can transform introspective ballads to world stomping stadium sing-alongs and yet that is exactly what the Mancunian four-piece have done. In a show dominated by pulsing lights and dancing bodies, it is the screaming, virile heart at the core of the songs that stand out the most. Towards the end of the set, Healy takes the microphone and address the crowd - “A Brief Inquiry… has been the best period of our lives. This one is for you.” And I believed him.