[Review] Lizzo @ Rod Laver Arena, Melbourne 17/07/2023
Review By Terri Nas
I just took a DNA test turns out, I’m 100% THAT obsessed with Lizzo!
Monday nights usually see me headed home after a long day at work to switch off and relax. But this week I ventured out to see the most brilliant and baddest bitch around, Lizzo!
When I arrived, Rod Laver Arena was abuzz with glitter, sequins, and palpable excitement as far as the eye could see.
Whilst we were all settling into position, we were treated to a fun and energetic set from Australian singer/rapper Tkay Maidza, who is supporting Lizzo on the Australian leg of her Special world tour.
Once Tkay departed the stage, the countdown was on for the arrival of the lady of the hour. I could literally feel the electricity in the arena from the crowd pulsating through my veins and increasing by the minute. By the time the house lights went down, the place could’ve burst into flames with the hot anticipation radiating from the audience.
It was then that Lizzo made her grand entrance centre stage in all her voluptuous glory, and opened her set with Cuz I Love You and her fun and bouncy hit Juice. We were pre-warned by the lady herself that she’d been on the coffee before the show, so now she was “hyper as shit”. Well the coffee worked, because her energy and stamina didn’t waiver once throughout her 90 minute set.
By this stage, the audience were “‘bout to have a panic attack” wondering if they were ready 2 Be Loved. We then found our Soulmate and jumped on the Phone to the Grrrls. Lizzo then sung us through all the different types of Boys she likes, and then added a little Tempo. During the next song, Rumours were flying and we got to see a surprise on-screen cameo from Cardi B. Lizzo’s energy and vibrancy was completely contagious, and the whole crowd were beside themselves with excitement for the entirety of the show.
As Lizzo sung her hit Special, it was like being embraced in a big warm hug from your best friend. Between the lyrics and her delivery, the song really is a beautiful reminder that everyone is special and loved no matter what. During one particular moment, Lizzo was visibly emotional and slightly overwhelmed as she looked out into the sea of faces (and phones) and absorbed every ounce of love that was being directed her way. The next few songs led us to an excellent cover of Chaka Khan’s empowering female anthem (and a favourite of mine) I’m Every Woman.
After Everybody’s Gay & Water Me, we were then treated to another cover, this time of Coldplay’s best-selling single, Yellow – with Lizzo declaring that they are one of her most favourite bands.
It was then time for the famous Sasha Flute to make an appearance, and my little flautist heart skipped a beat listening to the dulcet tones being projected from the melodious woodwind instrument. (Yes, I was a Flute player. Yes, I went to band camp). I just love how an artist like Lizzo has incorporated her classical flute training into her music, giving her a different edge to most. Thank you Lizzo, for making us band nerds and the flute cool again!
Sasha led us into the iconic hit Truth Hurts with some bad-ass trills which, due to some technical difficulties, was performed in darkness. Lizzo finished the song by hilariously asking “did we pay the light bill, bitch?” A temporary blackout didn’t stop the superstar from continuing the show like a true professional. Interacting with her fans to kill time until the lights were rectified, turned out to be a heart-warming moment in the show. The genuine and humble way in which she interacts with her fans is a clear indication that they are her priority. This is all for them. To prove this point, she did an encore performance again of Truth Hurts once the lights were back, because as she eloquently yelled out, “these people need to get their motherf**kin’ videos!”
Lizzo has a literal glow that emanates from her, and as well as being beautiful and downright hilarious, you can tell everything she says comes straight from her soul and she believes every word she preaches.
Her set was rounded out with I Love You Bitch, and the catchy and super motivating Good As Hell, which if you’re not ready to take on the world after listening to it, then you were listening to the wrong song. With the crowd on an absolute high we wanted more, and more is what we got. Lizzo came back for an encore with About Damn Time, and a final appearance from Sasha Flute before they both wished us goodnight.
Despite being amazingly talented in many areas, Lizzo’s constant message of self-love and believing in yourself is also what makes her stand out from the rest and makes her so endearing. We need more genuine role models like her in this crazy world. No matter the mood you’re in when you enter a Lizzo gig, the only way you’re coming out of that show is on cloud 9 feeling buzzed and empowered. I’m still riding that Lizzo high and won’t be stopping anytime soon. If there’s one person you need to add to your Concert Bucket List, then Lizzo is it.
[Review] Blackpink @ Rod Laver Arena, Melbourne 10/06/2023
Review By Wendy Smith
So, K Pop. If you’d asked me on Friday what I thought of K Pop, I’d probably have said that it is the epitome of a manufactured, manipulated, empty, mindless drivel that the music industry has ever turned out. But other than purchasing a BTS burger at McDonalds, I have never given it any time so my opinions are admittedly baseless. Ever on the hunt for knowledge and self-improvement, I accepted the challenge and fronted up at Rod Laver Arena in Melbourne on Saturday night with a partially open mind and a great sense of curiosity.
To say this gig was different to what I would normally spend my concert going money on is an understatement. I was instantly conspicuous in the sold out Rod Laver Arena. That’s 15,000 people, but is small potatoes compared to Blackpink gigs in Japan (110,000 people) and at Coachella (125.000 people). I have blonde, curly hair – 99.9% of the crowd did not, sporting jet black, dead straight hair, the kind of straight that I have, at times, spent hundreds of dollars to achieve (we all want what we don’t have, right?). I am 50 something – 99.9% of those present were somewhere between achieving their pen licence, and their driver’s licence. But the sense of excitement was palpable and the arena was resplendent with probably 50% of the audience, having rented these squeaky hammers, like a child’s toy, except keeping with the theme, they were in fact illuminated pink hearts – soooooooooooo cute.
There was no warm up band for Blackpink, instead, as I took my seat, the big screens flanking the stage were playing music videos…………of Blackpink! The girls were running a wee bit late, and every time a video came to an end, an expectant cheer rang out, followed by an “Ohhhhhh” when the next video came on. The crowd in the General Admission area were amusing themselves during the delay, with a thousand selfies. Instagram is going to be awash later on.
At last, the lights went down, and after one last video, played at a louder volume, and by the light of 15,000 phones on video mode, Blackpink appeared. Resplendent in baby pink, the choreography was slick and sexy and the opening song How You Like That, sung in a mix of Korean and English and definitely pulling on Asian influences with a great big serving of Hip Hop. After the first song, the girls came forward to introduce themselves. The giggling, blowing kisses and making love heart signs jarred massively with the hypersexualised costumes and suggestive dance moves I had just witnessed but that’s K Pop for you. It turns out that there is an Aussie in the group – Rosie (spelled Rosé) is a Melbourne girl who entered a K Pop training camp in 2012 before being chosen for Blackpink in 2016. The Melbourne fans were keen to welcome her home with her introduction getting the biggest cheer.
This show was divided into 4 acts and an encore, punctuated with costume changes. The first Act was rounded off with the much more poppy Lovesick Girls, performed on Stage B. The song ended with 2 streamer cannons going off, engulfing the crowd in streamers. The punters loved it.
While the girls disappeared to change into something less appropriate, something unexpected was revealed from behind the huge video wall on the stage. There’s a band! Real live people playing instruments. That was a pleasant surprise as up until then, I had assumed a backing track. The girls reappeared and Act 2 started with another track relying heavily on Hip Pop (a new genre I just invented) Kill This Love followed by Pink Venom, a track that had a middle eastern vibe to it.
It was during this 5 song set that the band were introduced. The 4 on stage musicians had their little moment and then we met Brandon…….his instrument – Pro Tools. I had always thought this was a bit of kit confined to use in the studio and for fixing dodgy vocals. But thinking about it now, the music of Blackpink definitely included sounds that guitar, drums and even keyboards, could not produce live so fair enough. If it allows artist to recreate the studio sound in a live environment, which let’s face it, is what we all want when we go to see a band, go for it. And I don’t think that even standing next to the bass stack, could the bassist have produced the hair parting, bass sound that accompanied Blackpink in certain songs. The air positively vibrated.
Act 3 gave the girls their little solo moments with 4 songs that allowed them to show off their talents with songs that suited their personas. Jisoo sang Flower, almost entirely in Korean with a very Asian sound. Rosé gave us a mash up of 2 songs, Gone, a story of heart ache and On the Ground, a more upbeat pop song which also highlighted another unique aspect of this gig, the videography. Sitting above what would normally be the sound desk but at this gig, looked more like the computer lab at Melbourne Uni, were 6 giant cameras, positioned to capture every move and gesture to be featured on the stage’s screens. And in this song, there were also 2 on stage camera operators preceding Rosé up the walkway which really gave the video an interesting feel. Lisa was up next with Money. Lisa is actually from Thailand and has the most American persona of the girls, covering most of the rapping and Hip Hop elements. The solo’s finished up with Jennie, with her solo song, aptly titled Solo.
Another costume change was required to bring us into Act 4. This set included a couple of absolute bangers with Shut Down and DDU-DU DDU-DU. During the set also, the girls came out for a bit of chit chat giving Rosé a chance to talk about living in Australia and coming to Rod Laver to watch the tennis. She seemed a little vague on this but considering she left Melbourne to go into the K Pop factory in Seoul at the age of 16, her childhood in Melbourne probably feels very distant.
A 2 song encore came (after another costume change of course, this time coming out in their own merch – well, a girl’s gotta make a living) we got Boombayah and finally a fitting song to finish on, the up-beat As if it’s your Last.
So what do I think about my first K Pop experience? As K pop seems to be the magpie of musical genres, pulling on multiple influences such as said Hip Hop, R & B, rock, jazz, electronic dance etc etc, there was something for everyone, including this jaded old Rock Chick. The fact that Blackpink rely more heavily on harder edge Hip Hop and Electronic sounds made it an easier listen for me than if I’d ben sent to watch a band of pretty boys (sorry BTS). So if Blackpink are ever in your area, go see them – you’ll be in for a great time.
[Review] Wu Tang Clan & Nas @ Rod Laver Arena, Melbourne 14/05/2023
Review By Nikki Eenik
I’m scared I may have accidentally joined a cult when I saw Wu-Tang Clan & Nas at Rod Laver Arena this Sunday. But let me go back to the beginning.
The ‘New York State of Mind Tour’ is a must for any fans of hip-hop, or music in general. Cultural icons Wu-Tang take us on a winding journey through the history of Hip-Hop, with strong support from fellow East-Coast rap heavy-weight Nas.
There is so much to cover about the insane production value of this tour. Nas and Wu-Tang take turns coming on stage, punching out hits, covers and freestyles – both old and new. Supporting Wu-Tang is a full live band, seated on top of a massive projection half-wall. Nas is going more low-key with it; a single drummer supporting him through it all. I have never, ever, seen a musician having more fun. This guy is going ham. We never even get his name but he steals the show, with his dreadlocks secured by ball-ball hair ties, face adorned with dark shades and a massive grin – he’s so clearly having the time of his life; and so are we. All of the musicians supporting the main acts are just unbelievably tight. The musicianship throughout the whole night is impossible to fake, especially with those tight turnarounds between acts and bands. Somehow, they pull it off, and it is fantastic.
After that little warm-up, the stage goes black. And the half-wall, two side screens, back wall and top projection screen all light up. Flashing both the Wu-Tang symbol and Nas moniker, glitching and moving across the screens, with soundbites from popular culture, including the famous: “I am the one who knocks” scene from ‘Breaking Bad’ and several scenes from ‘Scarface’. A wasp flies from screen to screen, before turning it’s attention to us. As it speeds towards us, the lights go black and the show begins in full swing.
Behind the acts there is a mix of AI-art; capturing Wu-Tangs vision of combining “Eastern philosophy picked up from kung-fu, teachings picked up on the New York streets and comic books”. If they say; “We are taking the ferry out to Staten Island” – we are. The New York skyline getting further away as we approach the ‘Hidden Burrow’. Above the band are the names of New York Underground stops and stations – all punctuating a different place in the timeline of East-Coast Hip-Hop. This isn’t just a concert, it’s a history lesson.
First up is Nas, 49-year-old East-Coast rapper, widely considered one of the All Time Greats. We are treated to an opener of Verbal Intercourse and King’s Disease 3. Nas is really in a league of his own. Every time he comes on stage he’s wearing something different, full of infectious energy and never skipping a beat or being out of breath despite controlling an entire stage on his own – armed only with the most iced out ring I’ve ever seen, and his incredible compadre up the back on drums.
Wu-Tang quickly tell us why we’re all here tonight, and why this tour is so significant. “Hip-Hop started in New York City in 1973, made its way around. We are here celebrating 50 years of Hip-Hop.” Several different members of the group jump in; “We don’t give a fuck where you’re from, it’s what you gotta say. Just remember: Wu-Tang Clan ain’t nothing to fuck with.” Then we get thrown into maybe their most iconic song, shockingly named; ‘Wu-Tang Clan aint nothing to fuck with.” Rolling through an extended cut of songs like C.R.E.A.M, some members of the group take position as crowd wranglers, they bark instructions at us “Swing your arms! Side to Side! Side to Side!” and there is 0 hesitation. Everyone in the group has role, even down to one member who is standing without a microphone, just hyping up the guys on stage. These guys are best friends – and it shows. There is such a profound love for each other that permeates the weed-smoke-filled air.
Nas returns with DJ Greenland to take us on a further journey, with songs like Eye for an Eye, and the personal highlight of his many sets; his cover of Everybody Wants to Rule the World, which transitioned perfectly into The World is Yours. ‘T H E W O R L D I S Y O U R S’ scrolls at the top of the stage. I’m not sure if that’s true, but I know that right now – Nas is our world, and we are his. The connection between performer and artist is unreal, especially for such a large stadium setting – as opposed to the cramped, underground performance spaces 90s Hip-Hop was born from.
Taking us on another stroll down memory lane, We are gonna play the first song Wu-Tang ever recorded”. And so they launch into a fiery rendition of Protect Ya Neck. Each member getting their turn on the mic, people harmonising with each other, freestyling off each other – we are watching music being made and remade in real-time. And it’s electric, nostalgic and poignant. We are gifted with a cover of Come Together by the Beatles. “It is the power of music that brings us all together. It doesn’t matter if you’re gay, trans, black, white, straight, purple – We are all here together. Even the great John Lennon knew that, Wu-Tang knows that, and I know you know that. So, sing this with me right now” But they aren’t the usual words, they go more like:
“Let me see you sing/ As loud as you can / Come together / Right Now/ Over me”
My god is it loud in here, but it all sort of washes over you and takes you into a trance. It’s all noise and lights and wholesome energy with a beautiful Wu-Tang and Nas shaped bow on top. There are 2000s babies in front of me who light up several joints throughout the show, and pass them down to the 70s babies a few seats over. Unconventional? Definitely. But community is what it’s all about. A bra gets thrown on stage, and passed around to ever member of Wu-Tang – sharing is the name of the game.
And now, there’s a bit of quiet. As we are bathed in purple light we are asked to hold up our hands into the Wu-Tang symbol. (Hands up, palms forward, thumbs together). Everyone in the room has their phone down and their hands up. “When I say Wu you say Tang”
Wu!
Tang!
Wu!
Tang!
Then the music starts again and we all move our hands up and down to the beat of Reunited.
Then, more quiet. “Hold up that symbol again” – We do (obviously). “When I say ‘Hip-Hop’ you say ‘Peace’”
Hip-Hop!
Peace!
Hip-Hop!
Peace
“Now change that hand to a peace sign. When I say ‘Peace’ you say ‘Love’”
Peace!
Love!
Peace!
Love!
In that moment it dawns on me. I have just joined the most stoned, accepting, boisterous cult there is. I’m in a New York State of Mind, baby. Me and all other 14,000 disciples.
What follows is the most heart-warming series of events. Nas joins them on stage as they wheel out a Birthday “cake” (it’s a stack of donuts with candles in them) for their Australian Tour managers birthday. And they give a shoutout to “All the mums out there! Whether they raised you, chose you or you chose them – We love y’all!”
To close, as a tribute to deceased member, Ol’ Dirty Bastard, they freestyle on top of his iconic track, undeniable banger and insane feast for the visual senses; Baby I got Your Money.
The final moments of the concert show all of the performers together down on stage. The background projections are those of a simple New York street. And they all hug. This was the last stop on their Australian Tour, and they are soaking up the love. Many artists didn’t survive the violence of being lower-class and Black in America, but these guys did, and they are clearly so happy to still be here, all together. The crowd is cheering them on as we feel that love ooze into us. I think I nearly cried.
And that, is how I nearly joined a cult, nearly cried to Wu-Tang and Nas, and saw one of the most engrossing, unique concerts and concepts – all on a Sunday night.
[Gallery] Wu Tang Clan & Nas @ Rod Laver Arena, Melbourne 14/05/2023
Wu Tang Clan
Nas
Wu Tang & Nas
[Review] Mayday @ Rod Laver Arena, Melbourne 12/05/2023
Review By Emily White
Rock music is a uniquely universal language, and Mayday’s long-awaited return had fans buzzing with anticipation as they packed out Rod Laver Arena this Friday night. The three-hour, fully immersive masterpiece of a performance was unforgettable, and truly leaves all western rock bands with a thing or two to learn.
The concert begun from the moment fans took their seats. High-production music videos of the band played on the mega screens behind the stage, the words ‘Mayday really really want to see you’ plastered across the display. The anticipation grew rapidly for what was to be a mind-bending piece of pure entertainment.
Unbeknownst to the crowd, a surprise opener Ann (Bai An) approached the supersized, runway stage. A quick three song set was all that was needed to appreciate her soft, angelic vocals, mainly backed by silken piano melodies. Beautiful, yet humble in her appearance, it was impossible to divert your gaze from the spectacle at hand. Never have I seen a support act perform with such high-level production – each song paired with exquisite, bright moving backdrops that place the songs in their own universe – one separate from everyday life.
Ann did not hold back. Her vocals are the work of angels, her falsetto so technically faultless. Brief moments of self-harmonisation were a stark highlight, sending shivers down the spines of everyone present. Displayed on the projections behind her were the lyrics of her songs, conveniently written in both Mandarin and English – the deep meaning held within her songwriting being an integral part of her act.
The end of the set had the entire stadium moving as one. Light sticks in hand, and smiles on faces, this perfect moment was a sign of what was to come for the main event.
Not a seat was left vacant as the box office line at the iconic Rod Laver Arena wrapped through the nearby gardens. Mayday (五月天) are one of the most iconic bands in Asia, and after seeing them play live I can now understand why. The band who started out their career in the late 90s continue to remain in their musical prime. Being their fifth time touring Australia, the MAYDAY NOWHERE tour has been a highly anticipated comeback, a ‘best of’ concert boasting the powerful vocals and electrifying performances their fans already know and love.
Smoke filled the air, the arena glowing red as the band raced downstage to the runway. There was no holding back for the music veterans; crashing drums and a bass that could be felt in my chest were just the beginning of the night’s pleasures. Dressed in black from head to toe, there was a mystery, a cool grunge feel to the band – polished with the glamour of a dazzling light show.
Viva Love kicked off the evening, a fitting track to set the tone for the show ahead. Much of Mayday’s discography centres around themes of love, and longing for its reciprocation. Provocative lines that relate to fans young and old are at the forefront of the band’s success – screaming ‘Let me kiss you until the day breaks’ at the top of their lungs. Despite the more commercial nature of the lyric themes, Mayday’s members Monster, Ashin, Stone, Masa and Ming exude a type of coolness – true rock stars filled with angst and passion. A highlight of the stage production was the live footage projected behind the band – which out of context would appear as a final-cut music video. The 360° stage set up was similarly ingenious, leaving not a single ‘nosebleed’ seat in the house.
Mayday played for hours, with every fan favourite making the cut. The liveliness of the musicians is unlike anything I’d experienced, not letting up for even a second to breathe. Building this manic kind of atmosphere, fans were uncontrollable. Songs like Jump! forcing every person from their seats, throwing their bodies in ways only music can control.
A slower-paced segment of the night gave the band a platform to showcase their unreal vocal range, and heart-wrenching guitar solos. The stadium transformed into a night sky as the light sticks changed to white, the artists stationed independently across the stage. The tracks Contentment and World Crazy gave the crowd a sort of musical whiplash. Paired with a short film referencing the isolation of the COVID-19 pandemic, commenting particularly on the overwhelming doom that children see portrayed through the media. This was a particularly poignant moment; a reminder of the fragility of life, and to worry only about the things that truly matter.
Crowd interaction became a large segment of the concert as the night continued. Making conversation with their supporters, including those seated further from the stage. Front man Ashin (阿信) had the crowd in hysterics as he pointed out fan-made posters and gifts; a charismatic leader who puts a face to the name Mayday.
Moving back into their passionate love songs, Perfume covered themes of longing and devotion, so beautifully poetic with one-liners like ‘Deeply enchanted, deeply intoxicated’. Having the lyrics displayed behind them in both English and Mandarin made the songs accessible for all that were present and gave me as an English-speaker the opportunity to appreciate songs that I wouldn’t have otherwise understood.
A third clear portion of the show was met with the house lights being turned up, electric guitars switched to acoustic, and their all-black costumes turning to brighter-coloured casual clothing. This was to be the most intimate hour; the idea of a fourth wall was completely stripped away. If We Had Never Met dedicated its lyrics to their loyal fanbase – with images of concert crowds displayed on the screens. This was a collaborative effort; the mic being turned towards the crowd who sung every word in perfect unison. Song For You, Mayday’s newest single was met with gorgeous imagery of stained glass and golden lights, and pop hit Gan Bei drew the set to a close – a beautiful, humble goodbye as the band took a final bow.
I would attempt to write about the entirety of the show; however, Mayday was the gift that kept on giving, and giving, and giving. For each time the band took their bows, waved goodbye, and departed the stage, a chant would rise from the audience… ‘Encore!’
Mayday departed and returned to the stage another three times before finally satisfying the crowd enough to make an escape. Having a discography of over twenty years gave the band many songs to lean back on as they were chanted back on stage. Noah’s Ark, A Song with You, Tenderness, and Stubborn played to the accompaniment of confetti cannons; the band members going completely AWOL from their previously planned formations and movement. Huddling one last time to discuss their final song, the band dispersed, Ashin signalling with his hand that this would be the last one. LOVE-ing Being Happy was the perfect finale – and it was truly electrifying to be in the presence of such an avid fanbase who tonight proved their power in numbers.
I can now see why Mayday have been dubbed the ‘King of Concerts’. Still so clearly in their prime, the quintet make anthems for everyone. With lyrics that capture the nuances of life – met with stunning visuals and high energy, you would be a fool to miss Mayday the next time they return Down Under.
[Review] The 1975 @ Rod Laver Arena, Melbourne 11/04/2023
Review By Nikki Eenik
I was blessed to be able to see the “Best Band in The World”; The 1975 (according to The 1975 front man Matty Healy) during their first Melbourne show at Rod Laver Arena on Tuesday night. Turns out, as revealed during the show, Matty Healy used to live in Melbourne – information very much not known. So now you know! Hometown show!
A note before I continue! If you are an epileptic, do not go and see this show, there is a lot (and I mean, a lot of strobe). Live through this review and their Spotify repertoire instead. J
If you’ve read any of my previous reviews, or if you know me in real life, you’ll know I’m something of a Sad-Girl-Pop Connoisseur. So, having Wallice, as an opener was an especially tasty treat. Wallice is the alias of Los Angeles born-and-raised singer-songwriter, Wallice Hana Watanabe. She is described on The 1975’s event-page as “indie-pop wunderkind”, and has been described in NME as a “future alt-pop hero”. Clearly, she is a hot up-and-comer, and everybody knows it. She has the cutest aesthetic I’ve ever seen at such a large stadium show. Cowgirl hats, Americana-esque patterns and cuts are all the norm for Wallice’s wardrobe. Tonight, she is donning a mini-skirt with a deep purple crop-top; complete with ruffles, puffy shoulders and starched buttons. Very Founding-Fathers-Meets-Indie-Darling-Core. I’m obsessed. As a Japanese woman, it is so clear that Watanabe embraces and celebrates her Asian heritage – because her entire backing band are also all Asian femme-presenting musicians. During her final number, smash hit 23, she shreds guitar back-to-back with her other guitarist and bassist. It’s such a wonderful celebration of feminity. Seeing girls in skirts shredding up a storm made me feel a special kind of powerful, it spoke to Little Me who had seen far-too-few women playing for huge crowds, in all their hyper-femme glory. We were treated to an almost 40-minute set, with a personal favourite, Best Friend, and Funeral – “This next song is Funeral and it’s my favourite song I’ve ever made!” Watanabe gleefully proclaimed before launching into her penultimate musical number. Consider Wallice Sad-Indie-Girl-Pop Expert Approved.
Front-man Matty Healy begins the set alone, after a video plays on all four of Rod Laver’s massive projection screens of him meandering out of the greenroom – glass of wine in hand. A single spotlight lights up the set, a stripped-down version of their concert-concept; a living room, complete with coffee table and lamp, as opposed to an entire house which can be spotted in the European and North American legs of the tour. The girl behind me begins screaming so intensely at the idea of Healy coming on stage, her friend has to hold her up. “We’ve been exploring being a man, being famous, being obnoxious”, Healy begins, leisurely reclining on the sofa. “This show, this concept, is a call for something sincere and direct”. Be My Mistake is such a beautiful opener to the set. Performed stripped down, with just an acoustic guitar, with harmonics courtesy of all those in attendance. Healy smiles listening to an entire stadium sing along with him; You do make me hard/ But she makes me weak.
Then the rest of the band comes out, and wow are they an absolutely ferocious unit. So musically tight, each providing such a crucial musical element to the show. I couldn’t imagine even being one-man down. Speaking of one man. The 1975 saxophonist, John Waugh, if you’re reading this review, call me on 04** *** ***. This man was the absolute highlight of the night for me. He was killing it, improvising and layering on top of everything from tear-jerking ballads to undeniable bops, jumping from alto saxophone, to clarinet, to tenor saxophone and back again. My jaw is still on the floor. But every member of the band is stellar, and we are treated to a new member for this tour, female guitarist Polly Money. She’s amazing, I hope she stays on for many tours to come.
As Healy winds his way through cigarettes, glasses of wine, and flasks of whiskey, the band winds their way through 6 albums worth of music in 2-hour absolute extravaganza. A feast for the senses, if you will. I was chuckling at Healy’s Morrissey-esque dancing, feeling my friend start to cry at Fallingforyou and spellbound by a never-before-heard arrangement of Paris. The band is also not afraid to play instrumental tracks like An Encounter. They’re taking us on a ride.
Healy proclaims, “There’s quite a lot of people here, isn’t there?” And he’s met with screams of joy. after being the perfect cocktail of pleased and shocked. In response he yells back “We are the best looking band from Manchester!” (No one tell Liam Gallagher) While this fact is completely not-provable by science, it is absolutely provable that there are some hardcore fans in the building tonight. The camera, when not focussed on the band – distorted video, black-and-white avante garde meets 70’s psychedelic lag makes it seem like there are trails following each of the musicians, is completely obsessed with this one fan. Front-and-centre, pushed against the barricade, sweaty, screaming every word, wearing one of the best pieces of merch currently on the market – a shirt that reads, Your Girlfriend’s Favourite Band. While I’m nowhere at her level, and was simply a casual listener, I fell in love with songs like I Always Wanna Die (Sometimes) and was possessed by groove to boogie along as much as my chair would allow.
Something I am though, is a Tumblr Teen. So when, at the end of the show, Healy slurs into the mic, “Does anyone remember 2013?” I know what’s coming. I feel my brain chemistry change. I am 14 years old again, editing my Tumblr html code, after a hard day of being sad and sweaty in Year 9 or whatever. “It feels like ya never left” And he’s right, as much as I try to delete the photos of my Facebook, the side-fringe-having-heavy-eyeliner-wearing teenage girl is alive and well under my front-fringe and septum piercing. The band finishes with Sex, and that teenage girl comes to the front. The Tumblr Girls are singing this time, some of the band’s later fans not understanding the vice grip The 1975’s 2013 self-titled album had on us, culturally. But I understand. We understand. What a cathartic moment.
And then, it ends. No encore, no nothing. Done. The end is marked only by Healy, “Give it up for the World’s Greatest Band, The 1975. We love you!” Walking out in a swarm of former early-Internet teens, new tiktok fans and goths. I am bleary-eyed from too much light exposure, but feel a side-fringe sized weight lifted from my shoulders.
