Idles never fail to impress, but their performance at End of the Road festival last month was quite something.
Headlined by the likes of Slowdive and Yo La Tengo, End of the Road was noticeably targeted at Shoegaze fans with many of the smaller stages saturated with similar artists. So when the likes of Lambrini Girls, Big Special and of course Idles hit the stage it made for a 360° switch in the tone and style of the festival.
Foreboding as ever, the twinkling, spiralling staircase piano instrumentals and heartbeat booming drums of ‘IDEA 01’ rang out across the fields. Notably Idles’ frontman Joe Talbot made little to no eye contact or attempt to interact with the crowd throughout the track. This added even more weight to an already deeply emotional, reflective and haunting song.
As though not aware of the carnage saturated setlist to follow, much of the crowd appeared at ease. Then, as if by second nature, ‘IDEA01’ melted into the clattering drum stick clicking and bass guitar vibrations of Idles’ classic ‘Colossus’. Lighting the touch paper and rocking anyone lured into a false sense of security, cozened by the rest of the ambient indie rock on festivals line-up.
Then suddenly, mosh pits sprawled, beers were thrown and the shouting of lyrics began. As ‘Colossus’ came to a close, Talbot announced to the crowd to ‘put away your wine racks’ seemingly a dig at the middle class atmosphere of End of the Road. I have to agree that End of the Road has a particularly bougie feel to it too. It is the only festival where I’ve seen members of the crowd sitting in pop up chairs, reading travel guides and The Times.
The set progressed to class politics anthem ‘I’m Scum’ in which Talbot requested the crowd join in the ‘new British national anthem’. This consisted of the repeated chant of ‘f*ck the King’. Despite Idles’ latest album offering, Tangk, being somewhat less politically themed than previous albums, the live experience is as highly charged with social and political themes as ever!
Whilst the majority of their set was full throttle mosh pits and crowd surfing, there were some moments of calm in which the audience slowed down to embrace the delicacy of certain tracks. ‘The Beachland Ballroom’ is an especially unique track to see performed live. Despite having mosh pit worthy instrumentals and vocals, the crowd for the most part, stood swaying to the beat. This highlighted Idles’ unique talent of cutting to the core of their audience members. They’re able to channel people’s passion, love and frustration into a single cathartic live music experience.
As always, Idles’ set came to a close with ‘Rottweiler’. A track Talbot declares as ‘an anti fascist song for anti fascist people’. Punctuating their performance at End of The Road as a brilliant addition to a very well themed and exciting festival.
To stay up to date on all things Idles’, you can keep an eye on their official website or follow them on social media for any and all upcoming tour dates and announcements.
You can also check out my in depth thoughts on their latest album, Tangk right here.
Take a look at the rest of Idles’ “love is the fing” your dates below:
