After seven albums and nearly 20 years together as a band, Baltimore-based synth-pop band Future Islands proves that many things improve with age. On tour for their newest record, People Who Aren’t There Anymore, written and recorded during the pandemic about a long-distance relationship strongly affected by Covid, Future Islands brought plenty of emotion and heart to their sold-out show at Los Angeles' Shrine Auditorium.

Before Sam Herring and Future Islands took the stage, the opening act Oh, Rose - led by frontwoman Olivia Rose - played ethereal, soft indie pop rock under glowy orange and purple lights. A violinist joined the band for a few songs, adding a delicate energy to the group's sound that felt reminiscent of Florence and the Machine and mid-2000s Rilo Kiley. The packed house welcomed Oh, Rose with open arms as they closed their set with a mighty singalong. Olivia Rose later joined Future Islands during their set for a beautiful rendition of “Shadows,” which transformed into a sweet duet that perfectly complemented each act as shadows fittingly danced on the walls behind them.

Electricity struck the venue when Future Islands eventually took the stage for their own set. A moon-like orb glowed on stage behind the band - a fitting sight the same night as a full moon and partial lunar eclipse. Sam Herring, dressed in his usual jeans and black t-shirt, appeared as raw as an open wound, ready to dive into the emotional experience of a Future Islands live show. They opened with “King of Sweden,” Herring’s unique vocal delivery paired with the pop-y synth beats made for a pitch-perfect experience in the Shrine. Herring was smiling from ear to ear throughout the track, bringing a high energy that the audience couldn’t help but match.

Other highlights in their set included a haunting performance of “Give the Ghost Back” and a beautiful, vulnerable rendition of “Plastic Beach.” Herring began “Beach” by explaining that the song was for anyone who tears themselves up when looking in a mirror, even though some people love and see you for who you are. Herring’s openness when both explaining songs and actually singing them makes his performances feel relatable and friendly; seeing Future Islands feels like catching up with old friends over dinner and having heart-to-heart talks. Sometimes, Herring feels the music so deeply that he rips and tears at his clothes, body, and face. His emotional honesty is so powerful that you can't help but want to give him a hug. It’s truly a sight to see.

When Herring isn’t exposing his softer side, he’s excited and revving at 100 miles per hour. During upbeat tracks like “Walking Through That Door” and “Peach,” he has the habit of sprinting across the stage so fast that it looks like he might do an unexpected cartwheel or backflip. In between the bridge and chorus of “Peach,” when the synth and bass combo sounds just like a lost New Order track, Herring couldn’t help but kick his legs high in the air like a Rockette, all with a smile on his face. After the song ended, the crowd cheered longer than usual, and the band just let the cheers fill the silence; organic moments like that make seeing Future Islands live special.

By the time the band played their smash hit “Seasons (Waiting On You),” the crowd was erupting with energy that the venue could barely contain. Phones shot in the air, and Herring posed for everyone, again a huge smile on his face; his control of the crowd, deep vibrato, and openness when performing rivals Morrissey at his peak and arguably surpasses it. With nearly 1,500 live performances under their belts, Future Islands have repeatedly proven that their dedication to live performance, vulnerability in lyrics, and unique approach to orchestration make them stand out against their peers. You have not honestly heard Future Islands until you’ve heard them live, and their performance at the Shrine Auditorium affirmed that.

FUTURE ISLANDS

OH, ROSE