More about: Yungblud

It was the final date of the tour. OVO arena was sold out. This gig was the culmination of YUNGBLUD’s recent and rapid rise to fame and I showed up entirely clueless.

Having never delved into his discography, and armed only with the content of the Theroux interview I’d watched on the train, my impression of YUNGBLUD was a canvas yet unpainted with any opinion, thought or feeling towards the 25-year-old artist. Here is how that canvas became decorated:

Fans swarmed the lower levels of the mosh pit and patterned the seated areas; a check-print, space-bun, vape-wielding eclectic mix. Several people were making out, grooving to the tame impala hold music as we waited for Dom to don the stage. Deafening screams arose from the crowd when the lights dimmed, and the pit became an array of phone screens. A dramatic projection of heavy falling rain lit up the backdrop. Since I hadn’t brought myself to wait in the long loo line in the break, the intensifying projected storm spoke solely to my bladder, and made me feel very uncomfortable. The stormy screen dissolved into transparency, showing a silhouetted YUNGBLUD first with horns, then wings, then ascending from his own body.

Approximately 30 seconds into opening track '21st Century Liability', I made the following note on my phone: “damnit I’m in love with him.” Wearing some enormous steampunk-esque glasses and pink socks, he definitely had a look, and he definitely had an energy. The stage was literally on fire, and the crowd were metaphorically on fire. They moved with the same animation all the way to the back of the stadium. 

“Wembleeyyy.” He addressed us. “I’ve waited me whole fucking life to say that so i’m gonna say it again. WEEMBLLEEEEYYY.” When 'Tissues' began, I thought it was a cover of The Cure’s 'Close to Me', and as the set continued I picked out a number of soundalikes. Coldplay to Bowie to (dare I say) Bon Jovi?! Having said that I found the music to fit in well around the show. It seemed curated as a vehicle to allow the crowd to gather and the show to entangle us. Despite never having heard the songs before they were simple and punchy enough for me to be yelling each chorus a few minutes in.

He compassionately dispersed a message of safe mosh etiquette, while assertively opening up several pits in the crowd. “If anyone falls down you pick ‘em right back up alright.” The crowd interactions were engaged and charming. Notable moments go to the end of 'Strawberry Lipstick', which he concluded from a precarious perch high up in the seated area, and a very sweet chat with a starry-eyed, ecstatic fan, who opted for YUNGBLUD’s next song to be 'California' (chosen over 'Psychotic Kids'). Various symbols of fondness were thrown to the stage from the crowd; a rose, a bra, a trans flag. All of which were interacted with and commented on to the amusement and adoration of the crowd. 

“Listen to the fucking kids Rishi Sunak or we will eat you.” Medication. California. Anarchist. Outfit change. Sex not violence. The centre portion of the show was a high-speed whirlwind, which swept through us until the end of 'mars', which saw us share one of those sober moments where the lights come on super bright, and people pretend their phone torches are lighters. 

"My blank canvas impression of YUNGBLUD now opines that he cares about a lot of things - about bringing people together and performing."

Winding down the show we got 'I Cry 2' and the piano ballad 'Sweet Heroin'. Deep in the da, da da das of said ballad, Dom told the crowd there’d be a two-minute break and the band left the stage, reportedly in the interests of a fan’s wellbeing, who needed to leave the crowd. A feature not uncommon at a YUNGBLUD gig, I was told. After the interlude the band picked up right where they left off with the da da da da das. One particularly dedicated mosh pit to the front right of the stage raged on all through 'Cotton Candy', 'I Think I’m Okay' and 'The Underrated Youth'. Dom said “I’m gonna remember this moment for the rest of my life” before ending with 'The Boy In The Black Dress'. He threw some things around as he left the stage and wasn’t to be seen for an encore.

My blank canvas impression of YUNGBLUD now opines that he cares about a lot of things - about bringing people together and performing. To me it seemed that the music is a somewhat hollow vehicle which allows those things to eventuate. But I also think that all of the people who are upset about YUNGBLUD’s authenticity should channel that energy into climate change policy reform, or something constructive. Kudos to the man who has very nearly brought 2012 emo fashion back into the mainstream.

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More about: Yungblud