If a concert could make a crowd feel like they are living in a montage from a John Hughes’ movie, it would be one performed by The 1975. The British four-piece synthpop rockers recently set up such a dream-like scene Oct. 19 to a sold-out crowd at Lincoln Hall.

Despite forming and writing their self-titled debut album nearly a decade ago, The 1975 recently burst onto the scene with a number one debut album in the U.K. Their quick popularity is rooted in their catchy ’80s pop synth sound and honest and relatable lyrics about the journey through teenage years filled with angst and lust. After completing this summer’s festival circuit (including opening for the Rolling Stones), the Manchester quartet have begun their own headlining tour.  

Starting things off strong was opening act Linus Young, a new Los Angeles-based band with an antique, Wild West vibe. After a platinum blonde and a rugged man with an insane beard walked onstage to sing a melancholy intro above a chorus of church bells, the rest of the band joined and continued to feed the crowd’s energy through their biting lyrics, use of minor chords and killer guitar jams.

After roadies crammed the stage with countless synths, the stage was filled with smoke as the dewy intro to their self-titled track “The 1975” played. With a crescendo of anticipation, their trademark rectangular box burst into white light, and the band (clad in all black, of course) walked out, oozing with elusive coolness.

Through an hourlong set filled with ’80s and R&B-tinged tunes from their album and previous EPs, euphoric vibes possessed the crowd. With his unmistakable croons, hair flipping and thrashing across as much as the small stage would allow, frontman Matthew Healy’s presence was magnetic. “Milk” had drummer George Daniel playing so hard that he had to fix his drum kit after the song while “Heads. Cars. Bending.”  showcased their layered synth and banging sound.

Ethereal instrumental interludes heavy with synth provided by guitarist Adam Hann and bassist Ross MacDonald were the show’s transitions, keeping the flow organic and the energy ascending. Healy’s passion and soaring vocals were at its most raw and impressive during “Robbers,” a slower tune filled with anguish. The ’80s electro pop hit “Heart Out” unified the crowd in one loud, arm-flailing, “If you got something to say, why don’t you speak it out loud!”

The genius of The 1975 live is the band’s ability to come off as natural but polished-a bit paradoxical, but they are so aligned with each other and the music. Since performing these songs is second nature to them, the emotion is always genuine.  They provide the perfect getaway from reality-groovy guitar hooks you want to swim in and fill you with that artificial teenage invincibility complex. Taking a glance around the crowd mid-song, there were teenage girls mixed with guys in their 20s and even a group of older adults on a double date-and they were all singing along, throwing hands in the air and staring into Healy’s eyes with equal fervency.

They chose to forego an encore _㐠not needing to rely on the break of false applause to keep the energy high and electric. Instead, Healy told the crowd to “put your phones away and dance” during the last two songs.

During their final song, Healy continued to thank Chicago during instrumental breaks, assuring that The 1975 would be back soon, and even hinted at a spot at 2014’s Lollapalooza. In true pop-punk fashion, Healy jumped on the bass drum, facing and pointing to the soon-to-be iconic fluorescent box in a moment of homage (or awe) to the music and stories they’ve created.

It’s black and white: The 1975’s music is becoming something bigger than just a band-and they know it.
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