2024/02/21 – The 1975 – Resorts World Arena, Birmingham
Review: G. Rossington. Photo: Copyright Jordan Hughes.
Returning to the Resorts World Arena in Birmingham just 13 months since their last visit, The 1975 supported by The Japanese House appeared as part of their final slew of UK dates in support of their latest album ‘Being Funny in A Foreign Language’. The venue, known for its state-of-the-art facilities and vibrant atmosphere, provided the perfect location for an evening of innovative pop and indie rock.
The night began with a mesmerizing set from The Japanese House, the project of singer-songwriter Amber Bain. Her ethereal soundscapes and emotive lyrics captivated the audience from the start. Opening with ‘Saw You in a Dream’, Bain’s delicate vocals and lush instrumentation created an immersive experience. Tracks like ‘Lilo’ and ‘We Talk All the Time’ showcased her ability to blend melancholy with hope, drawing the audience into her introspective world.
The Japanese House’s performance was marked by its atmospheric quality, with multi-layered production shining through in the live setting. Amber’s stage presence was understated yet compelling, and the crowd responded warmly to her heartfelt delivery. The set served as a perfect primer for the evening, leaving the audience eager for more.
As the lights dimmed and the anticipation grew, Manchester’s The 1975 took the stage to a roar of applause. Still using the impressive “Inside House” stage set up from their last visit, and continuing the “Trueman Show” type of stage play, one by one the band arrive and we find Matty Healy already laying across the sofa. They open with ‘The 1975 (BFIAFL)’ that leads in to ‘Looking For Somebody (To Love)’. With these two tracks, the band immediately demonstrated their prowess in combining catchy hooks with thought-provoking lyrics. Frontman Matty’s charismatic presence and dynamic vocals were on full display, engaging the crowd from the very first note.
The setlist was a carefully curated mix of hits from their entire discography, including tracks from their latest album. Songs like ‘I’m In Love With You’ and ‘A Change of Heart’ had the audience singing along, creating a collective euphoria that filled the arena. The performances of ‘Oh Caroline’ and ‘Robbers’ were standout moments, with its infectious energy and soaring chorus lifting the crowd to new heights.
For ‘So Far (It’s Alright)’, Matty is standing on the roof of the makeshift house and delivers a passion fuelled rendition that leaves the younger members of the crowd in awe. As the lights black out the stage, a flurry of torches can be seen shifting some props and a shadowy figure arrives and subsequently takes a seat on the opposite side of the stage. When the band kicks in and the lights return, we are greeted by Matty’s dad, actor Tim Healy beginning to sing ‘All I need To Hear’. Matty joins him and we are treated to a beautiful heart-felt duet between father and son.
At the end of ‘When We Are Together’, the men in white coats begin to disassemble the house set up, but Matty makes his way through the arena to the second stage situated behind the mixing desk. We then get the section of the show titled “Matty’s Nightmare” as he performs ‘I Like America & America Likes Me’ whilst embracing a model of himself naked. As he begins walking back to the stage, musician Polly Money takes over vocal duty as her and the band perform ‘Jesus Christ 2005 God Bless America’.
The 1975’s musicianship was impeccable throughout the night. Healy’s vocal versatility, paired with Adam Hann’s intricate guitar work, Ross MacDonald’s groovy bass lines, and George Daniel’s tight drumming, created a rich and dynamic sound. The addition of saxophonist John Waugh and guitarist Polly Money added an extra layer of depth to the performance, particularly on tracks like ‘It’s Not Living If It’s Not With You’.
The band’s stage presence was both polished and spontaneous. Healy’s interactions with the audience, from heartfelt monologues to playful banter, added a personal touch to the performance. The visual elements of the show, including stunning light displays and creative video backdrops, complemented the music perfectly, enhancing the overall experience without overshadowing the performance.
The 1975 look refreshed as they launch in to the “Still At Their Very Best…” section. They performed the likes of ‘TOOTIMETOOTIMETOOTIME’, ‘The Sound’ and ‘Give Yourself A Try’ a poignant track that showcased Healy’s emotional range and lyrical depth. The final duo of songs, ‘Sex’ and ‘People’ ended the concert on a high note, with their upbeat rage and hark back to their earlier era leaving the audience baying for more.
Both The 1975 and The Japanese House created an electrifying performance combined with a perfect balance of introspection and exuberance. The arena’s top-notch acoustics and visual production only added to the magic of the evening. An outstanding concert that left a lasting impression on everyone in attendance.
