Idles launch this year’s Elemental Nights with a terrific coruscating attack of Rock’n’roll blitzkrieg, fully committed to levelling everything it its path.
Lead singer Joe Talbot says he hates the term Post Punk. Fair enough then. The meshed and focussed barrage of sound may have its genesis in Detroit and the wielders of Art terrorism like MC5 and Fun House Stooges. The lyrics are left wing Socialist rage and have been honed into political polemic which is never tedious or mundane.
They share that with the Sex Pistols and the Clash. They have a musical gift which extremists like Crass didn’t have. They do acknowledge Gang of Four, although they don’t cover Damaged Goods tonight.
They are one of the current leading banner acts of Post Punk then. Heavily reminiscent of Sleaford Mods who performed here recently.
The rest of the team. Mark Bowen guitar, wearing a full-length Zippy the Pinhead dress made from a kitsch shower curtain. Lee Kiernan guitar, Adam Devonshire bass and Jon Beavis drums.
Their massive sound is dominated by the ground force attack of the rhythm section. Which clears the path and opens the mind to the meshed waves of guitar crashing through like tempestuous oceans.
The drums detonate repeatedly like heavy ordnance. As for the audience, they’re generating steam heat/ Pulsating to the back beat.
Talbot is winding them up. Runs on the spot like a cross-fit trainer. Does the simian loose-limbed strut. Fank you to everyone. He encourages wildness, and praises the security who really do a good job of keeping the lid on any mayhem which threatens to boil over.
He wants to sweat, so he makes a point of letting us know how much he hate air-conditioning in the auditorium. My heavy leather jacket stayed on whilst standing at the stage barrier.
Colossus opens the show. Atypically it starts with a slow beat and portents shadow and doom, a signifier towards Joy Division.
Car Crash immediately raises the energy and electricity. Superman/ Super strength/ Smash/ I’ve got myself together. Talbot chants like Jason from the Sleaford Mods. There has been some recent banter from that direction about who may be poseurs or not. It would make an interesting Battle of the Bands one day.
Mister Motivator makes the influence explicit. Like Tracy Emin in her unmade bed/ Listening to the Fall. Flava Flav, Frida Kahlo, Connor McGregor, David Attenborough are also name-checked. The howling of the guitars drives it over and undercuts any pretensions.
My mother worked 15 hours 5 days a week is of course the intro to Mother. The thrill comes from the brutal drumming which overrides all and provides the propulsion.
I’m Scum is one of several songs addressing fascists. This stands out as Talbot makes a point of the repeated taunt, Fuck the King. He makes a point of slipping in Paedophile Ring, a reference to current controversial movie Sound of Freedom sending shock waves through the USA.
The band can channel the dissonant guitar crunch that the Cramps achieved when Alex Chilton produced them and added his manic vision to that of Brian Gregory. Arguably the Idles take it further.
Never Fight a Man with a Perm has that manic Psychobilly energy verging on the scary metronome signature style of Suicide. These boots are made for stompin’ and the Lee Hazelwood classic is tapped.
A song like War is simply a great cathartic barrage.
Beachland Ballroom is a rare ballad. I’m not begging/ I’m not praying.
Danny Nedelko has its heart firmly on its sleeve in a direct embrace of immigrants. Talbot does take time to stake his position on the mass migration of people and is firmly on the side of diversity. Whilst slagging off his home country in the wake of its shambolic decade of leadership.
An abrasive Oi! style of Punk drives it over, as he sings lyrics like He’s made out of flesh/ He’s made out of love.
Watching the Idles tearing it up with all filters off, and I am reminded again of the wild gift of Rock’n’roll. Having just seen Little Richard: I Am Everything at the Film Festival before coming to this show. That power is undiminished!