Having seen Future Islands about five times over the past decade, their show at the Fox Theater in Oakland on Sept. 17, 2024, felt like a departure from the raw, emotional intensity that once defined their live performances. While it was still a robust and engaging show, this one leaned more into polished production and theatrical flair than the emotional spontaneity I remember from past gigs.
Samuel T. Herring, now sporting a clean and tight haircut, led the band onto the stage through a foggy, arched opening that felt like something out of a Dungeons & Dragons scene. Above them, keyboardist Gerrit Welmers was elevated on a riser, surrounded by neon blue and green circles, which gave the stage a futuristic, New Romantic vibe—think 10cc and Kraftwerk. The whole setup was visually impressive but felt detached, especially compared to the more intimate shows I’d seen.
Herring, always a magnetic frontman, still delivered a great performance, but his signature chest-pounding and intense growls seemed more calculated this time. Once his movements felt driven by sheer emotion, they now appeared as well-rehearsed crowd-pleasing moments. Even so, the audience loved it. When Herring mentioned how the Fox Theater felt like home, the crowd erupted in cheers, creating a sense of connection that momentarily bridged the gap between the band and the audience.
Musically, the band was tight as ever. William Cashion’s bass was punchy and precise, Michael Lowry’s drumming was sharp, and Welmers’ synths wrapped the room in rich, dreamy textures. The Fox Theater, notorious for its inconsistent acoustics, held up fairly well, delivering a clear and balanced sound. I’d rate it an 8 out of 10—a few muddy spots, but nothing that detracted from the overall experience.
A big highlight of the night was the new material. The songs from their latest album felt mature and fresh and really added a new dimension to the set.
Future Islands’ 2024 album, People Who Aren’t There Anymore, is a deeply introspective work that delves into themes of loss, memory, and the lingering impact of those who have left our lives. The album features a blend of upbeat tracks and poignant ballads, showcasing the band’s evolution while retaining their signature sound.
The opening track, “King of Sweden,” sets a reflective tone with its lush synth layers and Herring’s emotive vocals, immediately pulling listeners into the album’s themes of farewell and reminiscence. The energetic “The Tower” follows, juxtaposing its upbeat tempo with lyrics that explore the weight of unspoken emotions and the struggle to move forward.
One standout track, “Peach,” features a driving beat and soaring melodies, creating a sense of urgency as it grapples with the memories of those who have shaped our lives. Herring’s passionate delivery shines through, making it a highlight of the album.
The album also includes “Corner of My Eye,” a beautiful ballad that captures the essence of nostalgia. Here, Herring reflects on the fleeting moments shared with loved ones, accompanied by gentle instrumentation that allows his voice to resonate deeply.
These tracks stood out, making even fan favorites like “Seasons (Waiting on You)” and “Ran” feel like pleasant nostalgia rather than the emotional peaks of the night. The new material showcased that the band isn’t just leaning on past hits—they’re still growing and pushing their sound forward.
Observing the crowd was intriguing. The venue was full but not as tightly packed and electric as I’ve seen it in the past. This made me wonder—has the fan base evolved into something different? Or was this a blend of older fans and newer listeners? The energy was palpable, yet it felt a bit more subdued compared to earlier shows.
