Matt Healy’s tone-deaf attempt to support LGBT+ rights is a lesson for white saviours everywhere

The lead singer of The 1975 is no stranger to controversy, but his latest outburst puts vulnerable communities in danger

Matt Healy, frontman of the band The 1975, is once again dominating social media with his problematic antics and blasé attitude. Having caused the cancellation of the Malaysian Good Vibes Festival after kissing his male bassist – homosexuality is illegal in the country and punishable by up to 20 years in prison – Healy has since shown little remorse concerning the situation, even though it could have a deep impact on the Malaysian LGBT+ community.

Healy is no stranger to lighting the matches and then running from the blaze. Ever since his band gained traction in 2010, Healy has made controversial comments, which at times have been described as ignorant and even racist. In one incident at the start of this year, he was criticised for an appearance on a podcast in which he and the hosts mocked the ethnicity of rapper Ice Spice. His apology put the onus on those who’d taken offence – if they’d misconstrued his words, then he was sorry.

After so much negativity towards his behaviour, to the point that Taylor Swift fans demanded the singer break up with Healy when rumours circulated they were dating, you’d think Healy would take a break. But no, it seems that his need to be the controversial showman is burning brighter than ever.

On Friday, while The 1975 were headlining the first day of the Good Vibes Festival, Healy greeted the crowds by telling them he’d made a “mistake” by agreeing to the event. “I don’t see the f***ing point, right,” Healy continued, “I do not see the point of inviting The 1975 to a country and then telling us who we can have sex with.”

He then sealed the moment by kissing Ross MacDonald, The 1975’s bass player, before their set was cut dramatically short after only 30 minutes. The fallout continued, with the Malaysian Ministry of Communications and Digital ordering that the rest of the festival be cancelled.

In Malaysia, homosexuality is still illegal, and is punishable by caning, fines, and incarceration. Consequently, public displays of LGBT+ support are dealt with swiftly, with the rights of the queer community non-existent.

To onlookers without any first-hand experience of homophobia or transphobia, Healy’s actions could be seen as activism – he’s trying to address the intolerance that keeps marginalised communities in the shadows. But that’s far too simple an analysis of what, for me, is clearly performative activism at best.

This is a straight, white, cisgendered man speaking out about experiences from a privileged position, and then able to leave before the aftermath touches him. Healy was able to make his public display, then jump on a plane and fly out of there, with no other apparent repercussions than the stern backlash of social media.

Yet, for the LGBT+ people of Malaysia, they’re left to face the tangible political fallout that places them, once again, in danger. Malaysian drag queen, Carmen Rose, summarised Healy’s actions perfectly when she spoke with the BBC World Service: “If he was doing it for our community, he would know what consequences we would have to go through.”

Malaysian State Elections are just around the corner, taking place in August, thus Healy’s bravado comes at a time when good intentions can have a damning impact, serving as further ammunition for policymakers.

To add further insult to injury, this isn’t the first time Healy has taken such action in an anti-LGBT+ nation. In 2019, while performing in the United Arab Emirates’ city of Dubai, Healy kissed a male fan, prompting criticism that he could have endangered the fan’s safety.

Back in 2018, The 1975 helped finance a London LGBT+ community centre because “stigma still exists even in London and we still have some way to go”, making what was reported to be a significant donation.

To me, being able to actively campaign on one hand, yet also risk endangering the lives of those you’re campaigning for, speaks of the ignorance Healy operates under. Perhaps characters like Healy are able to compartmentalise, essentially separating their damaging actions from the harm inflicted because they believe they’re saving others less fortunate by doing occasional charity work. It’s the epitome of a white-saviour complex.

Since leaving Malaysia, Healy has poked fun at the festival’s cancellation, asking how he could be expected not to kiss MacDonald, seemingly hinting that his bassist is too attractive to resist. And still, Healy doesn’t acknowledge the damage he’s done. Not even when The 1975 announced the cancellation of its Jakarta and Taipei shows due to “current circumstances” – circumstances Healy created – has he accepted any responsibility. Healy’s ignorance would be awe-inspiring if it wasn’t so dangerous to those left behind.