By: Jessica Lee
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Futureheads - Publicity Photo
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The Futureheads are one of the only British bands to somewhat consistently have local Twin Cities bands as openers when they've played Minneapolis (See: The Deaths, Landing Gear, and, yes, even Tapes 'n Tapes). Although safe money says it's more by practicality than by design, it's an interesting chance to see local talent alongside an international act. Tapes 'n Tapes are currently touring most of the US with the Futureheads, but Maps of Norway filled in for them at the Varsity.
It’s also a good opportunity for local bands to get some exposure. Maps of Norway’s Rebecca Morical’s vocals gave the band’s bass-heavy and Joy Division or Interpol-like guitar sound a new twist, along the lines of Pretty Girls Make Graves. Bassist Matt Helgeson pogoed around during their set with contrast to stoic guitarist Eric Hanson. Jeff Ball, on drums, kept the dancy clatter steadily resonating from the high hats during their set, which included songs “Manners” and “the Response” among others from their upcoming full length release. And lead singer Morical was a warbly-voiced songstress as well as a tough as nails frontwoman. Case in point: near the end she sternly questioned a young man in the front row in a whisper whether he was making fun of her dancing, and added sarcastically that it really hurt her feelings. The dude put on the spot seemed a bit shocked at the confrontation and just flat out denied it.Though it was probably lost on anyone out of earshot, the rough edges around the moment added some human interest to the stark sound. Those close to the stage were won over by the tunes, as seen in their head-bopping, toe-tapping, and outright dancing by the end. Maps of Norway play their record release show August 11 at the 7th Street Entry.
The Futureheads returned to play Minneapolis for the first time in over a year. It’s not a long sojourn for many other bands, but for the hard-working North of England blokes, it was a change from their frenetic tour schedule that brought them to the city four times in the twelve months prior. As a fan who had attended their earlier shows, I was definitely anticipating their return.
Despite the deceptiveness of their relatively young ages, guitarists Barry Hyde and temporarily-bespectacled Ross Millard, one-name bassist Jaff and younger brother David Hyde on drums have been playing together and touring for several years. Their unique vocal styling, which consists of the whole band filling out their often complex arrangements and most notably four-part harmony songs, were led by Hyde and Millard. It’s something best appreciated after many listens, and better yet in a live performance.
The Futureheads are currently touring the US in support of their second album, News and Tributes. The new songs show an evolution in songwriting from their self-titled debut. In some senses it’s more conventional than the mostly stunted and jerky but nonetheless stellar songs of the first album, which drew many Gang of Four and XTC comparisons. But not to fret, the foray into “conventionality” is more about branching out from that original sound. The result is still far from bland or even all that conventional, and retains their great mish-mash of influences and character.
Off-the-cuff stage banter included comments that Varsity Theater resembled a Roman whorehouse, a song dedicated to Barry's injured pinkie finger and friendly piss-talking (the British national pastime) amongst the band, which showed that they are still having fun - and the mood was infectious. “Skip to the End” received some of loudest cheers; it’s one of their best of the new material and it’s one of their poppiest songs, with plenty of na-na-nas. Even “The Return of the Berserker,” which feels heavy and slightly out of place on the record, was made entertaining live as the band stepped back from their mics and spotlights into the dark shadows of the stage, and the overlapping guitar parts became exhilarating. The Kate Bush cover song “Hounds of Love,” their UK top-10 hit, was bolstered live when the room was split in half and encouraged to sing along the background parts of either Jaff or Millard, while “Burnt” showcased a bit of their slowed down sound as Barry switched to an acoustic guitar.
The Futureheads left the stage with the room a-buzz. Beer and hot summer weather must have had its effect on the audience, because during the wait for Futureheads’ return to the stage there was a spontaneous soccer cheer that spread throughout to the crowd. “That’s the first time we’ve ever come back from encore to ‘Olé Olé Olé’” said Millard before they launched into “He Knows,” followed by “Worry” and then “Carnival Kids.” One minor disappointment at show's end was that the focus on second album material favorites such as “First Day” and “Piece of Crap” fell by the wayside.
So as those of you who’ve read all of this know, and as a favor to the cheaters who just want to know if a Futureheads show is worth going to and thus have skipped to the last paragraph – the answer, according to this reviewer, is yes. As they’d say in their hometown in Sunderland: They’re canny good, like.
Futureheads' Set list:
Yes/No
Area
Meantime
Cope
Burnt
A to B
The Return of the Berserker
Fallout
Stupid and Shallow
Thursday
Skip to the End
Favours for Favours
Hounds of Love
Back to the Sea
Decent Days and Nights
Man Ray
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He Knows
Worry
Carnival Kids
Location Info:
The Varsity Theater
Artist Info: Futureheads, Maps of Norway
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