Four (almost) consecutive nights at the biggest venue in London came to a close last Saturday evening, proving that Wembley Stadium really is Harry’s House.
Topping off a three-year world tour with a mini-residency at such a special venue clearly meant the world to Styles, who put on a dazzling performance while remaining close to his concert roots, retaining the intimacy of a small-scale show by chattering away to fans in the front row and thanking them for all of the love they had shared with him over the course of the last three years.
The final London spectacle began hours prior, with the appearances of three opening acts close to the singer’s heart – first, Yaffra and Pauli, two members of the revered Love Band, the former of whom gave an understated but exquisitely elegant performance, tinging the stadium with a tenderness that reflected the wider sentiment of Love On Tour in its entirety. Pauli’s set was contrastingly exuberant and the live debut of his new single “Saucy” set the pitch into a spin, particularly when Harry himself emerged amidst the crowd to celebrate the success of the dear friends joining him on stage later.
Then came Wet Leg, ever-reliable in engaging Harry’s audience in a cacophony of longest screams and ‘wet dreams.’ Their second song, which Harry himself covered in the BBC Live Lounge last year, remains a fan favourite, but the band has established their presence well through an abundance of other steady bangers such as “Being In Love” and “Angelica.” Lead vocalist Rhian Teasdale revelled in the glory of the occasion, insisting that the band had never imagined their trajectory might take them to Wembley whilst commandeering the stage and audience as if their name was at the top of the bill.
As the opening acapella section of “Bohemian Rhapsody” sounded throughout the stadium, fans from the front to the back were sent into a frenzy, astutely aware that the song precedes the beginning of Harry’s set. Singing along as if Freddie himself was about to appear, this was a last reminder of the incomparable sense of community found by so many at these shows before the performance started. Friends of all ages kitted out in the customary bright colours and feather boas danced gleefully to almost the entire pre-show playlist, with a trace of apprehension emerging as time passed and spectators wondered what Harry might have in store for the final show.
To the surprise of nobody in the room, Styles did not disappoint. Bursting onto the stage in a shimmering red heart jumpsuit and nothing else – no doubt in homage to the outfit from his previous two-day stint at Wembley – the noise rose to an astronomical level to the soundtrack of now familiar opener “Daydreaming.” Greeting the crowd earnestly and making full use of the numerous runways to reach every corner of the audience, the pace was kept moving by acclaimed hit “Golden,” with Styles requesting that everybody get low as the rousing intro rang out before eighty-thousand were jumping in unison when the beat kicked in.
The setlist was perfectly curated to bring the energy up and down in waves, with breaks likely needed by a crowd who did not cease to dance to every track. Between songs, the performance was punctuated by a number of moments of bated breath as fans waited to discover which surprises they may or may not receive; as a frequent attendee of Harry shows, I was confident that he would pull out all the stops. True to form, he played both “Daylight” and “Stockholm Syndrome,” a One Direction classic that predictably caused a riot, which are usually alternated. However, the most poignant revelation of the evening came in the form of two of Styles’ most emotionally-charged releases making an appearance. The first, “Sweet Creature,” had not been played for six years and was dedicated that night to his older sibling Gemma, who was present with the rest of their family and about whom the song was written. In a similar vein, during the more mellow portion of the evening, Harry brought “Love Of My Life” back to Wembley, a track that is comparably obscure in meaning but often related by Styles himself to London, his chosen hometown.
From there to the end of the main set, the tempo was raised and the introduction of the talented and jubilant horn section elevated the music unimaginably. Styles powered through the so-nicknamed ‘Disco Medley,’ with a flying visit to One Direction’s first release “What Makes You Beautiful,” which had everybody on their feet. Thirteen years down the line, he clearly loves to perform it more than ever. After a brief presentation of his bandmates and a number of crowd interactions, generally comprising happy birthday wishes, coming-out parties, and the occasional gender reveal, the body of the set closed with “Fine Line,” the first chords of which were enough to draw tears from audience members.
I observed a number of reactions throughout the night that have developed into cult trends as the three-year tour has progressed: red heart balloons were released from all over the pitch during “Matilda,” dance circles emerged during “Satellite,” and many chose to listen to “Fine Line” lying on the ground, gazing up at the night sky above. This is Love On Tour—the unification of those present at the concert and those watching on from countries far and wide, brought together under the same moon on account of love and admiration for the man playing music in front of them. This admiration is very obviously reciprocated by the artist himself, evidenced by the exclamations of gratitude and disbelief made by Styles at his journey, its longevity, and the volume of fans and supporters that have been with him from the very birth of his career. He made bold claims of performing being his favourite thing to do, and this very night being the peak, not only of his professional but his personal life.
They are easily believed; he appears at his most alive on this stage. One would be mistaken for forgetting that the night had been real at all.
As if to act as a reminder to bring the singer and his adoring audience back to reality, down came the rain as the encore commenced with “Sign of the Times.” To the initiated, this was a moment of utter serendipity, reminiscent of the storm that had accompanied the same song, one year prior to the very day. Such a magical coincidence feels reserved for a star like Styles, who took an incredulous look up into the night and bathed in the rain that showered him with gravity.
If there were ever a notion that Harry Styles might fade into obscurity with his peers, this evening was enough to silence doubts. The man even seems powerful enough to control the weather. The show itself is uniquely laidback, showcasing all of his blockbuster hits from every year of his musical life without the extravagance of the mega-tours of his female pop contemporaries, but it works for him. Never has so much love, friendship, exhilaration and emotion been felt by so many at a single show. Love On Tour has far transcended the songs themselves; it has become about what they mean to people and who they have brought together. Crucially, that includes Harry and his fans, who have each other’s back throughout it all.
Thus concludes a love letter to the most joyous week. Harry Styles plans to break once this final leg of his tour is over but shows no signs of slowing down. He is peaking in real time, and I am already excited about what he might do when he decides to return.
