Fans are piercingly loud as The 1975 take to the North London stage. Quelling any sense of awkwardness, and not sucking up too much adoration, the band stylishly launch straight into their hit ‘Love Me’. Singer Matt Healy is in a typically loose mood. He sips from his glass of red and risking a venue fine, he sparks a cigarette (his manager sweats).  His love of being on stage is great, and he's as natural as he would be jamming in his garage with his best mates.

By the third cut, the hi-tempo extroverted fun is replaced by moodier atmospherics. Their guitarist steadily palm-mutes the band along until the saxophone blasts its first solo of the night. The saxophonist is an elusive fifth member but his contribution also as a keys player is so important.

As the jazzy overtones dissolve, and the band readjust for the next cut, Healy goes: “How funny is this? Individual people as opposed to a mass.” He is right, it is weird. The 1975 are not in a 16,000 cap arena. But have opted to go back to the sort of venue they'd play as an unsigned band to help raise money for War Child. Fairplay to them.

Not dwelling to chat long, Healy introduces ‘Robbers’ and gets the most deliriously giddy response from the hardcore fans – presumably it doesn’t always make the set.

“This one is for everything that’s important right now” says Healy as we fully expect a pre-song speech about Trump and Brexit to ensue after his comments at the NME awards where he said these things need talking about. However, Healy avoids doing so and keeps the party atmosphere going with ‘Loving Someone’. An LGBT pride flag is beamed up as a projection and a bass heavy wall of sound here threatens the foundations of the building and showcases the bands love of dubstep club nights as teens perhaps.

The saxophone and guitar melt into each other beautifully on ‘She’s American’. Meanwhile, on ‘fallingforyou’ has a Burial-esque soundscape, perfect for a night bus trip, that meets shiny pop vocals – it’s an interesting dichotomy and works.

Next up, someone in the crowd declares that they got engaged to the song ‘Me’. Healy is touched and scrambles across the crowd to give her a hug. He then wickedly laughs, “This next song is about a bad break-up.” The simplicity of the narrative of this next tune (‘Somebody Else’) makes it one of the most engaging and it’s a brilliant tale of jealousy.

Healy has publicly admitted to a past cocaine habit and the song ‘Paris’ is loaded with references to it and offers quite an interesting contrast to the shiny happy surface of the tune.

The gospel number (‘If I Believe You’) has big parallels to man-of-the-moment Chance The Rapper here although it’s nothing like it. It’s bleak(ish) and instrumentation is quite sparse. The saxophone is the best part of this, and Healy points the room’s attention away from himself to allow his comrade to shine.

Before the penultimate song, ‘Chocolate’, Healy says “we might play Hammersimth Apollo” in summer. Of course, this is greeted with loud cheers as it's another relatively intimate show. The Apollo and arenas may do for now. But if they keep on the form they are tonight, they are on the road to headlining Glastonbury one day.