Al Pash Reviews The 1975 @ The Armory, Minneapolis

Al Pash Reviews The 1975 @ The Armory, Minneapolis

 

This Tuesday, Manchester’s The 1975 took the brightly illuminated stage at the Armory – Minneapolis’ newest music hotspot! Deafening screams wailed from the lungs of loyal fans, filling the venue and setting the tone for a truly exceptional evening. Our reviewer on duty for the evening was Al Pash. Here’s what she has to say:

 

Many music enthused concert addicts joined me this week for an unforgettable performance by a band that’s continued to challenge the conventionality of mainstream pop. Hailing from Manchester, The 1975 have been evolving sonically since 2013, where they first received mainstream recognition off the back of their self-titled debut record. They have an undeniable pop vibe, but their cheeky and progressive lyrics mixed with their angsty guitar tones distinguish them from other alternative rock/pop bands. Their transformation has lead them to their current phase of electro pop-rock sounds. Performing tunes off their latest album A Brief Inquiry Into Online Relationships, as well as oldies from their previous two records, much to the crowds pleasure.

Source: Julie Fennell

 

The show opened with “Give Yourself A Try”, the bands race-y take on modernity sung over harsh riffs that immediately ignited the head-banging attitude that entailed. Although the band has headed toward synth pop, there’s a remanence of alternative rock that will always take priority in the group’s disposition. This punk mindset is the true adhesive amongst the devoted fanbase. Strobe lights disintegrated our visual competence, disorienting our minds and emotions. It was a great way to get the crowd out of their heads, and into their bodies.

 

Immediately following the rowdy introduction, the set lights blossomed suddenly, unveiling its magnitude to the sea of screams as “TooTimeTooTimeTooTime” started. Never before have I seen such an immaculate set design: the production included a massive video wall that served as a back drop. Situated directly in front was an outlined rectangle, a shape that has branded the band since their debut album, and is recognized universally across their fanbase. This hanging rectangle bursted into various neon colors throughout the night, which strengthened the synth-y vibrance. Pop music of the ’80s has been a continual sonic theme throughout the band’s discography, so it was only fitting that the light design reflected those influences. Lead singer, Matty Healy’s dance moves brought the aesthetic to life, inspiring motion in every being in the venue.

 

Source: Jordan Curtis Hughes

 

The band played a pretty even split of both old and new tunes, which is often uncommon during a promotional album tour; however, there is an undeniable sense of nostalgia that is engrained in The 1975 fanbase, who respectfully expect older tunes to be incorporated in the setlist. With that said, the band absolutely smashed their hottest new tunes including “It’s Not Living, If it’s Not With You”, with visual aids that evoked emotions of a late 90’s childhood, as well as “Narcissist,” which featured opening act, No Rome.

A moving catwalk bordered the front of the stage, which Matty frequently rode left to right, busting out dramatized dance moves, which at moments were in-sync with two background dancers. The simplicity of the choreography added a tone of nonchalance, only furthering the the band’s “over-it” attitude. Not to be misunderstood with a lack of gratitude or arrogance, but rather highlighting the pre-teen/punk displays of nonconformity. This unconventional, progressive tone lingers frequently in the band’s atmosphere- one theme that continues to unify die-hard listeners.

 

Source: Jordan Curtis Hughes

 

Multiple stand-out moments come to mind after recapping the performance, but one moment that cannot go unsaid was the surprise addition of the track “Paris.” This tune off their second album, often gets overlooked when creating their setlist, but Matt Healy announced “We don’t usually play this live, but we have some extra time, and want to play some more songs. Is that alright?!” An immediate rush of euphoria erupted through my veins, as I knew exactly what song was about to be played. This synth-pop tune epitomizes the bands second stage of metamorphosis, when they began integrating loops and beats into their drum patterns. The energy in that moment was indescribable.

They rounded out the main set with the new tune “I Always Wanna Die Sometimes”. The intro and first verse of the track really threw the band back to their roots, as Matty trades his electric for an acoustic guitar, professing the lyrics of the title. The choruses and second half begin to re-introduce the electric components, ultimately climaxing at full band jam out, creating one more moment of chaos and emotional release.

 

Source: Hännãh File

 

The encore was a force to be reckoned with, opening with new single “Love it if We Made It”, and continuing with crowd favorites like “Chocolate”, and “Sex”, eventually closing the night with the ever up-beat “The Sound”.

There is something so interesting about the psychology of a fanbase, and the mutual relationship between band and listener. An intense dynamic is created when the creation of art is shared and accepted amongst large groups of people. The relationship each individual has with particular songs, contrasted with the unique relationship a fanbase experiences a song is an interesting phenomenon. In regards to The 1975 and their listeners, there has been a unique and universally unspoken agreement across the fanbase with the tune “Robbers”, almost as if it belongs to us. We treat it with care, playing it through many diverse life moments, and welcome it with a sense of nostalgia and respect each time it’s played live. All in one moment, 8,000 people become acquainted in time and space, living in one perfectly manifested sonic universe.

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