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The Futureheads are so good it's baffling. A year ago, I saw them open for Hot Hot Heat and the band was unquestionably captivating -- and, they've gotten even better in the interim. It begs a million questions:
Why aren't they huge?
Why aren't they jerks?
Why isn't the crowd going crazy
Why did their show cost $15?
Why don't any of my friends know who they are?
Why don't I get new friends?.
In stark contrast to Elizabeth Black's description of the band's wild and dedicated NY fan base, the Toronto fans are a little less enthusiastic. I found myself wondering what these English boys must think of us. The room was full of young, beautiful people who couldn't wait to... stand neatly together without touching or moving too much. Is this what people go to concerts for now? Oh, those crazy kids today!
Though I'm always glad not to get thrown around in a pit of sweaty, crazed bodies, I can summon up more than a metronomic head bop. While introverted behavior is understandable, and complimented opening act Tapes 'n Tapes's ultra-indiedom well, I was stunned that the crowd stayed so calm in the face of the Futureheads' all-out rock attack. The band absolutely blew Tapes 'n Tapes out of the Walkman, and within seconds of the opening notes of "Yes/No", the opening track off their latest album News and Tributes, the opener was forgotten. I stood there with a goofy grin on my face, taking it all in. It made me want to dance, and I'm no dancer -- especially in a crowd of too-cool-for-schoolers.
To say that these guys know what they are doing is an enormous understatement. They've got their shit together and they know it, but they aren't assholes, either. There was no lame fist pumping, no "Hello, Toronto!!!!!"s -- just a brief "we love coming to Canada." Which I suppose, could be true... gives them a break from the frenzied fans they seem to be facing everywhere else.
The crowd's aloofness was most apparent during the "game" Ross had them play, which involved singing along to the opening harmonies of "Hounds of Love". You could see the band was getting frustrated by the too-cool attitude of the Toronto fans. Regardless, the people who did join in had a good time, and the band destroyed the song. Other highlights included "Area" from their EP (the Area EP tracks are included on the North American release), "Skip to the End", "Decent Days and Nights", and "Man Ray" -- a raucous, feverish force of brewing tension that was pushed to the max before its explosive release.
Every one of the songs, even the newer, less familiar, and quieter tunes, such as "Thursday", came off with intensity and style, elevated way beyond their recorded versions. And this is the only problem I have with the group, and perhaps it is where the disjunction between the band's and fan's enthusiasm lies: the Futureheads are almost too good. They remain one of the best, most exciting, and energetic bands to see live -- so tight and so forceful that it's a letdown to hear the recorded songs later. And perhaps, by the same token, the recorded versions leave one unprepared for the full assault of the live show -- that would account for all the head nodding. Both of their albums are strong and fun -- but in the shadow of such a great show, they play like a tease of what could be... and I end up feeling like a junkie suffering withdrawal. Don't give me methodone! I want the real stuff!
— 10 August 2006
