IDLES / O2 Academy / Sheffield
Let’s keep this simple shall we ? IDLES….. LIVE….. JUST INCREDIBLE….. GO SEE THEM!
That enough ? Well, maybe a bit more then lol
To see IDLES live, is to understand what catapulted the band into the public eye in the first place. I’ll remember the first time I saw them perform on tv, on Later… with Jools Holland. I think the first track I heard was Danny Nedelko and I watched mesmerised, wondering what I was witnessing as they rolled around the stage in an old school punk frenzy making a cacophony of noise. And that is the real essence of IDLES, they are a band best served live on stage…. It’s where they truly come alive, and the energy and power of their performances make sure that everyone who came through the doors at a venue, feels a part of the experience.
But I guess at this point, we have to make mention of something else that makes their live shows something different from the ordinary… and that’s the band’s online following, the AF Gang, a community of like-minded music lovers with an ethos of equality, love and mutual support. It really is incredible to see such an inclusive community, organising pre-show meets for regulars but also encouraging new, and solo gig goers the chance to go with like-minded new friends. Likewise, after the show, the posts from gig goers posting praise and thanks to ‘unknown’ strangers that helped or supported them, such as picking them up and keeping them safe, or returning lost property is simply incredible. Something the world at large could learn so much from.
With four studio albums since 2017, IDLES have a sizeable selection of brilliant tracks from which to choose from, and the set varies from night to night. A large, excited crowd waited in anticipation as the band took to the stage and launched straight into opening track Colossus instantly recognisable with its drum stick tapping rhythmic introduction from Jon Beavis. The track is a natural opener, building slowly, ramping up the atmosphere, almost like a witchdoctor’s ritual, enchanting the crowd, creating the almost spiritual sense of belonging, ready for what’s to come. During the songs break, frontman Joe Talbot split the audience into two, ready for the onslaught to come !
As it fades away we head straight into new track Car Crash from “Crawler”. One of my favourite tracks from the new album and this one translates to a live set brilliantly, with Alan ‘Dev’ Devonshire’s simple, repetitive bass underpinning the frantic effect laden guitars as Joe Talbot spits out rap like lyrics. Dev is an incredible bass player and seems out of place as he stands towards the back of the stage, allowing Bowen (Mark Bowen) and Lee (Kiernan) to take centre stage with their whirling effervescent performances, but he brings a sense of calm to the performance, as well as some of the most wonderful bass tones you’ll ever hear. The track builds repeated to a frenzied peak before dying away.
The crowd are in their element again, swirling and bouncing to the high energy intensity of Mr Motivator filled with its cliches taking a poke at critics of their lyrics. Right from the off, this is an atmosphere I’ve rarely experienced before, and it’s incredible. Mother is next and the crowd sing along loudly and then one of the highlights of the night, as Jehnny Beth leaps onto the stage and duets with Joe on vocals for Ne Touche Pas Moi, a powerful song about making gigs a safe place for everyone to enjoy the music without being touched or harassed. What should in fact just be the normal but is sadly, in many instances…. not. Jehnny’s energy is the perfect match for Joe’s vocals and it’s an instant hit with the crowd. And that’s the amazing thing, for a band so full of energy, power, and sometimes anger at the world, their shows are an incredibly safe place…. Joe isn’t averse to calling out bad behaviour from the stage (not that he needed to tonight), and it empowers the crowd too. It’s an incredible experience to see something so….. raw. But delivered with such love.
Next we have old favourite Divide and Conquer about the state of the NHS under Tory rule, before we have another new track in Beachland Ballroom. I have to say, this is my favourite track from 2021’s “Crawler”, a tribute to the small venues, so important to the birth and development of new bands, helping them to reach their potential delivered in a wonderful soulful, swaying format. The pace slows giving the crowd a much needed breather, as they sway in time to the mellow tones as the lights shine off the disco ball suspended above the stage. Although slower, the intensity remains, especially through the wonderful, emotional delivery of the lyrics by Joe. It has a wonderful sense of subtle power.
Fan favourite Never Fight a Man with a Perm is next, and its one the crowd love to sing along to as they crash around the dancefloor. This is followed by Crawl! And 1049 Gotho from their debut album “Brutalism”. The energy in the room is just electric, stirred constantly by the onstage antics of guitarists Lee and Bowen as they dart around the stage erratically, Bowen in his best Sunday dress.
A few more favourites in The Wheel, Reigns and Television demonstrate how tight the band are before we have another new track in the form of MTT 420 RR an incredibly personal track from 2021’s “Crawler” which tells the story of a car accident Joe Talbot had involving a speeding motorbike. The atmosphere changes as the crowd hang on to every word that leaves his lips “It was February, it was cold and I was high. The swell of heaven on my dashboard, I could see my spinal cord swing high”. Incredibly moving and poignant.
Wow
War is followed by the brilliant I’m Scum and another highlight of the night. With it’s intensity and anger, the fans are up again and bouncing around, screaming out the lyrics, embracing and proud of who they are ! Part way through Joe quietens the crowd and gets them to all crouch down low (apart from those with a medical note or the psychopath near the front lol) and leads a whispered chant of “Yorkshire, Yorkshire, Yorkshire” the music builds, you can feel the tension rising like winding up a clockwork toy, then bang ! The guitars explode into action and the crowd as one, spring into the air and become one, giant, swirling mass of united humanity ! Such an incredible sight.
As the crowd recover, we go into Danny Nedelko a huge favourite with the fans and a real pro-immigration anthem which the crowd sing along to in unison, a song about love and unity with one of the best lyrics I know “Fear leads to panic, panic leads to pain. Pain leads to anger, anger leads to hate” If you want a reason for the band, and their supporters ethos nothing sums it up better really.
Ironically, before we actually get to the end, we have The End before we have the final track of the night, their familiar feral anthem Rottweiler a loud, frantic last stand before we part ways into the night.
I don’t think anyone came away from tonight’s show disappointed. For the long time fans who have seen many IDLES performances, the new material gave the show variety and a freshness, but for the new fans like me, it was a sensational introductory performance, and for everyone, it was a much needed antidote to all the pent up frustration with the pandemic and state of the world.
For something to be so raw, and yet so beautiful and full of love is an incredible experience. It’s not so much a gig, as an experience….. As they say…. All Is Love.
Set List
Colossus
Car Crash
Mr Motivator
Mother
Ne Touche Pas Moi
Divide and Conquer
Beachland Ballroom
Never Fight a Man with a Perm
Crawl!
1049 Gotho
The Wheel
Reigns
Television
MTT 420 RR
War
I’m Scum
Danny Nedelko
The End
Rottweiler
In support tonight, we had two fantastic acts. First up we were entertained by a set from Big Joanie. Formed in 2013 by Stephanie Phillips, who advertised online asking for bandmates to start a black feminist punk band after becoming frustrated with the lack of intersectionality in the scene. She was joined by bass player Kiera Coward-Deyell, and Chardine Taylor-Stone (drums and vocals), and after releasing a few singles and EPs they released their debut album in 2018 “Sistahs” with Thurston Moore and Eva Prinz's Ecstatic Peace Library, and have since signed to Kill Rock Stars in the U.S. Since then Estella Adeyeri (bass guitar and vocals) has joined.
Having toured with and supported the likes of Parquet Courts and Bikini Kill's, tonight they brought their brand of emotionally written punk music to the IDLES audience. Perhaps the best dressed band I’ve ever seen, they delivered a fantastic set, their laid back almost conversational style, masking the politics of their music.
Following this enjoyable opening, we were entertained by something entirely different as Jehnny Beth took to the stage. If Big Jeanie were the best dressed, Jehnny Beth hit the stage in black PVC and bristling with energy.
A French singer, songwriter, actor and author, Jehnny Beth is best known as half of
John & Jehn and latterly of rock band Savages. Her debut solo album “To Love Is to Live” was released to critical acclaim in June 2020. A very personal album, it included a collaboration with IDLES Joe Talbot. She has also collaborated with artists such as Trentemøller, Julian Casablancas, Tindersticks, Gorillaz, Noel Gallagher, Romy Madley Croft of the xx, Idles and Bobby Gillespie of Primal Scream. In 2021, she released a duet album with Gillespie titled Utopian Ashes.
Jehnny Beth is known for her energetic and powerful live performances and her intense voice, and tonight’s performance did not disappoint. Visually striking, emphasised with stark white spots and flashing lights it created an impressive and immersive environment. Jehnny is no more at home, than when surrounded by the crowd, and took every opportunity to climb the barrier and dive into the crowd, which they loved !
I really enjoyed Jehnny’s set and would love to see her again. An artist that came over as totally immersed in their art, and performing for an audience of one, herself. If you enjoy it, you’re welcome along for the experience. Totally at one with herself and her art, it was an outstanding performance.
