Future Islands at The Madrid Theatre, Kansas City MO (2025-05-06)

FUTURE ISLANDS TOUR DATES

Missing no more, the alternative post-wave synth band Future Islands finally returned to Kansas City following a long absence, to play a highly anticipated sold-out night at the Madrid Theatre in midtown and delivered with a joyful and memorable performance.

The evening began with a set from longtime alt / art hip-hop rapper Open Mike Eagle, in support of his 2023’s ninth album, “Another Triumph of Ghetto Engineering” (via Auto Reverse Records) and whose opening track is “I Bled on Stage at First Ave”, an ode to the fabled Minneapolis club, which right there, warms him to our hearts.

Aka Michael Eagle II, the LA (via Chicago) musical artist was literally a one-man show, using just a sample pad resting on a blue milk crate, to make his songs sound bigger against his eloquent, sometimes sardonic, stream of consciousness lyrics that told stories, revealed emotions, and provoked thought and often joy.

Only a few times did he step away from his makeshift pedestal to better connect with the audience but his method, technique, and the tracks themselves were enough to endear him to the crowd to gain even more fans as he recalled some of the previous venues he’s played in the metro.

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After a brief set change, Future Islands began their set… with an apology…?

The Baltimore four piece (via North Carolina and comprised of Sam Herring-vocals; Gerrit Welmers– keys/ programming; William Cashion-bass, guitars), and Michael Lowry- percussion) had realized before the show that it was only third time playing Kansas City, and this was their first show here since mid-2010.

Vocalist Herring has always been one to wear his feelings on his sleeve, and mentioned the band was thrilled to be back, promising a good show, which was music to the ears of the many longtime fans that had endured that decade-and-a-half gap, for their return. The wait turned out to be worth it, as the band was highly focused musically for their ninety-five-minute headlining set, with Herring rarely standing still, expressively embellishing his lyrics with darting dance moves and performative contortions.

After playing fabled venues like Radio City Music Hall and the Sydney Opera House last fall, the post-wave band added another tour leg this Spring, still in support of their seventh studio album- last year’s “People Who Aren’t There Anymore” (out via 4AD Records).

Their songs are chiefly anchored by a fusion of a driving synth dance beat over a dreamy soundscape and Herring’’s vocals, which range from a lilting melodic level to his trademark angst-filled emotional growl. He remains affable between songs, introducing most of them by name, often providing some context and background as well.

The opening “King of Sweden” from the new album, was said to be about a trip that Herring took, that took five years before he returned home, and his moves were on display right away getting the crowd to scream and yelp at his poses and motions. Herring admitted after that he was still feeling out the stage boundaries “like a Roomba,” to know to what edges he could move towards.

“Walking Through that Door” was from their second album, a hopeful song about Herring overcoming addiction set to a bass drum beat and dizzying synth drone, and “Peach” was simply about having something to hold onto, in this life. 2011’s “Balance” also starts with that similar thumping bass drum, and lyrically is Herring’s message to younger people to hold firm and keep faith, as better days are often around the corner.

“Glimpse” is the band’s newest single, released last year following the full-length, and lyrically deals with loss and memory (likely inspired by the pandemic) describing a family home burning, set amidst an electro-sound beat and Herring asking lyrically “Who is left to grieve?”

2014’s “Seasons (Waiting on You)”, their biggest hit to date, remains a set highlight, with Herring gliding from stage end to end, pounding his chest, and vocally reducing to his guttural growl, in that search to find the particular one.

The main set would end emotively with 2010’s “Tin Man” with Herring completely transporting himself into that role, expressively mimicking the anguish in the lyrics, until the end reveal of self-admittance, and gesturing as if to shed a complex mask, before collapsing to the floor.

2017’s “Ancient Water” began the three-song encore, a song of emotional captivity and eventual mental freedom, followed by the sped-up post-punk tempo of 2010’s “Vireo’s Eye”, and the night would end with their traditional closer, “Little Dreamer.” The early song dates all the way back to 2007 and is a simple ode by a struggling young singer to his then-girlfriend as their optimistic new band finished those initial songs for their first album.

Future Islands are thankfully no longer considered the “People Who Aren’t There Anymore” as they returned to Kansas City after a long absence to musically deliver, and promised it wouldn’t be nearly as long, before we see them play again.

ALL PHOTOS BY BRANDON CLASEN

(click on any image to enlarge and to see in full)