By Emily MacLean, First Year English
In a now-familiar ritual of fan culture, Finneas' supporters packed the staircase of Bristol Beacon hours before doors opened, forming a meandering queue that could rival those at a theme park on a summer weekend. Die-hard fans at the front rallied the line with spontaneous singalongs of iconic anthems such as ‘Bohemian Rhapsody’ as everyone fought to contain their eager anticipation.
I must confess that, in a surge of impatience and excitement the night before, I upgraded to VIP – enticed by the lure of a tote bag, a signed lanyard, a FINNEAS cap, and, most irresistibly, the fangirl’s holy grail: coveted spot at central barricade.
Therefore, I was guided in early, tinged with a slight guilt for foregoing the sacrificial display of adoration that is the all-day queue.
Opening the evening with an ethereal, minimalist set, Hohnen Ford transported the crowd from the grandeur of the Bristol Beacon to a more intimate and dreamlike space with only a piano and a softly glowing bedside lamp. Her voice – mellifluous and lilting - gently lulled the audience into a reverent silence.
Ford’s lyrical delivery allowed each phrase to linger, bathing in the beauty of its meaning before gently settling over the attentive audience. She achieved an authentic connection which extended beyond the stage.
After the show, she remained at the merchandise stand for hours talking to fans and radiating a sincerity that's become increasingly rare.
After a brief wait, Finneas cruised onstage, in attire reminiscent of a typical University of Bristol student, to airy, celestial music.
He took his seat at the spot-lit piano and effortlessly began his ballad ‘Starf*cker’ - a striking contrast to the unrestrained joy of the fans as they screamed and thrust banners into the air. Finneas met this frantic outpour of adoration with a wry smile, clearly amused but unfazed.
His instrumental mastery was unmistakable as he connected with the crowd whilst his hands instinctively glided across the keys. The band came on halfway through the song, uplifting the energy. Finneas seamlessly transitioned from this subdued opening into the buoyant pulse of ‘Lotus Eater’.
His confidence and familiarity with performance was evident as his toe-tapping and guitar strumming conducted the song throughout his entire body with ease.
Finneas revelled in the mastery of his craft – making the mic-stand sway and microphone arc through the air on its cord – all with the grace of a beachside stroll. It comes as no surprise that he’s already earned ten Grammy Awards at the age of twenty-seven.
‘The Kids Are All Dying’ felt particularly poignant in the current climate, despite being from his 2021 album, Optimist. The infernal red lighting and staccato instrumentation accompanied by screaming fans highlighted the exhausted frustration of a generation fatigued by powerlessness in the face of looming global crises.
Throughout the evening, Finneas broke down the barrier between performer and audience member. The camaraderie with his band – David Marinelli, Aron Forbes, Lucy Healey, Ricky Gourmet, and Miles Morris – gave the show the feel of an impromptu jam-session rather than a choreographed production.
During ‘2001’, he caught a fan’s phone and instantly began bounding around the stage, energetically filming the audience and his fellow band-members with infectious energy, reinforcing an atmosphere of shared experience.
The crowd rejoiced to the powerful, crashing drums of ‘’Till Forever Falls Apart’ before being overcome by a palpable emotional stillness during ‘Family Feud’, which Finneas dedicated to his younger sister, Billie Eilish.
The improvised concluding lyrics - ‘You’re only twenty-three / I think you’re right where you should be / a little too far away from me / but I know you’re happy’ - were touching. It felt less like a lyric and more like a whispered message across the sea.
Finneas rounded off the set with fan favourites such as ‘I Lost A Friend’ and ‘Let’s Fall in Love for the Night’, delivering them with an emotional intensity that made them appear brand-new.
The set closed with the titular track of his latest album, ‘For Cryin’ Out Loud!’ - raw expression of exasperated resignation. As he scattered branded guitar picks and folded setlists into paper aeroplanes, the opening chords of ‘Don’t Look Back in Anger’ by Oasis filled the air, harmoniously rounding off this candid, unforgettable evening.
Featured Image: Emily MacLeanWhat is your favourite FINNEAS album?
