“I don’t feel like we’re big enough to play these rooms, and yet we are,” Matty Healy says sometime between selling out New York City’s Madison Square Garden and Los Angeles’ Kia Forum. The idiosyn…
Speaking with Healy before he went on a romantic rampage – and he declined to comment afterward – one quote that sticks out in hindsight is, “I’m always just trying to do what the 1975 is, which is at least interesting.”
When they burst onto the scene with their 2013 self-titled debut album, the 1975 had a monochromatic visual identity. The black background and neon white rectangle became the band’s iconic symbol, and their live show was centered around it, with volumetric video projection used as its main light source.
“When Matthew was making the album, he was talking about how he wanted the listener to feel as if they were witnessing something,” says the 1975’s manager Jamie Oborne, who also founded and owns Dirty Hit Records. “He wanted an experience of intimacy in the record, so naturally when we started thinking about the show, he wanted the same type of thing.
“It sounds very basic, but to have a structure that you can take apart and reuse in another show is really groundbreaking,” says Oborne, comparing the house to a Meccano set. “It eliminates a lot of waste.” Burnham’s pandemic special “Inside” and the 1975’s “Brief Inquiry” similarly explore the bleakness of the internet age. “Since I made ‘A Brief Inquiry Into Online Relationships,’ my algorithms have been fucked,” Healy says. “[My social media] doesn’t know if I’m a black pill, red pill, blue pill, beta… it doesn’t know what is going on with me. I’m constantly getting a flurry of quite objective but extreme-sided information.
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