I Just Read About That…

[ATTENDED: October 15, 2019] Idles

I learned about Idles through NPR (of course).  I can recall Bob Boilen talking about their live show (I think at SXSW) and how amazing it was.  He said that they were very high on his must-see list.  And since then I have wanted to see them.  When they announced the show at Union Transfer I bought a ticket immediately.

I never really understand how bands become popular over here.  Most people I know have not heard of Idles.  And yet this show sold out very quickly.  I don’t understand why, given how many other bands that I think are bigger don’t sell out.  Maybe Philly just loves punk.

I know that Philly loves a mosh pit.  And boy did they ever get one.  Well, technically it wasn’t so much a mosh pit as a pogoing, bouncing, swarming mass of bodies.  And lots of crowd surfing–including from the band!

I knew a couple of Idles songs pretty well, but I didn’t know a lot of their songs.  However, I knew their basic style: lead vocalist Joe Talbot kind of speak/sings/screams lyrics of disaffection and the band alternates between quiet sections and full-on mayhem.

But the most amazing thing is the core kindness, warmth and humanity of the band.  They may be punk, they may be chaotic, but it all comes from a good, tender place.  So much so that at my show there were a couple of kids (with big earmuffs on, thankfully) in the front.  Indeed, I was standing pretty close to the front and this little kid (about ten) pushed his way up against the barrier!

The band started with an unbelievably loud, slow, rumbling repeating bass note from Adam Devonshire.  It shook the whole place.  And then Talbot came out and started singing the slow, quiet introduction of “Colossus.”  I knew that their songs were fast, but I thought maybe this would be a calmer show than I anticipated.  Then after a few verses, kaboom!  The pogoing and pushing came fast and heavy and I couldn’t get to the side fast enough!

The band didn’t stay put either.  Both guitarists were in constant motion, both all across the stage and, as happened several times, in the crowd.  It was barely into the second song that Lee Kiernan hopped off the stage and started playing in the crowd.

Although the guitarists were wild, drummer Jon Beavis was stationary–but he pounded the hell out of the drums and built up as big a sweat as anyone else.

For the huge following that Idles has, they only have two albums out.  And they played liberally from both.  They went back to Brutalism for “Heal/Heel” and then returned to the newer album Joy as an Act of Resistance for the wonderfully named “Never Fight a Man With a Perm.”  This song also starts with a rumbling bass and spoken word and then takes off.

Talbot’s voice is gruff and loud and intimidating.  And yet, when he addressed the crowd, he was so thoughtful and pleasant.  He thanked us all for making him and his band feel safe.  He thanked the staff.  He thanked everyone.  And he told us a personal and open introduction to “I’m Scum.”  After this, they moved back to Brutalism for a few songs.

Talbot was wearing a tank top undershirt.  He apologized for this and said he’d spilled coffee on his shirt just before the show.  Someone in the crowd then threw him a long sleeved shirt (he joked that he wasn’t hot enough already).  He then proceeded to put it on and wore it throughout the show.  I assume he  returned it to its owner (what a souvenir that is–he sweated all over it).

I was standing in front (sort of) of Mark Bowen.  Bowen was an absolute maniac.  He bounced all around the stage, bodily thrashing with the songs.  It’s amazing he was able to play any actual music for the amount he bounced around.  He was so much fun to watch during “1049 Gotho” that it was easy to overlook that the song is about depression.

Someone requested the song “Samaritans” and Talbot got all indignant.  “I don’t come to your place of work and tell you what to do.”  Then he said he was joking and said they don’t take requests because they only practice a certain number of songs and wouldn’t know how to play anything else.   He then said that they play “Samaritans” every night, so don’t worry.

I knew that I agreed with the attitudes that idles put forth, but I loved how explicit he was.  Like with this overtly feminist song intro to “Mother,” whose lyrics are:

My mother worked 15 hours 5 days a week
My mother worked 16 hours 6 days a week
My mother worked 17 hours 7 days a week

The best way to scare a Tory is to read and get rich

During “Faith in the City,” I was in no way prepared for what was to come.  While playing the song, Bowen came into the crowd with his guitar and kept playing.  The crowd parted for him and then eventually he was crowd surfed back to the stage while playing.

Talbot introduced the next song somewhat comically: “This is a love song, it’s called “Love Song.”  While Kiernan played a two-note melody, Bowen was making incredibly raw noises on the guitar.  I love that there’s a gruff “La La La la la‘ in the middle of the aggressive singing.

And then mid song, the guitars stopped.  It was just bass and drums thumping away and then Mark Bowen hopped off the stage, into the crowd and started singing “You’re the One That I Want” from Grease.  Bowen and Talbot duetted on the song until Talbot didn’t know any more words and then he started singing “I Don’t Wanna Wait” but only briefly before Bowen came back on stage.

It was awesomely fun.

Things got serious briefly when he told us that “Television” was dedicated to his daughter Agatha.  (I later found out the sad story about Agatha).

If someone talked to you
The way you do to you
I’d put their teeth through
Love yourself
And that’s what they do
The bastards made you
Not want to look like you
So you pay through the nose
To look like someone else
All the weirdos on the shelf
Love yourself
Love yourself
Love yourself
I go outside and I feel free
‘Cause I smash mirrors and fuck TV

Then it was time for “Samaritans” which he dedicated to the guy who requested it.

Introducing “Benzocaine” he told us that he was sober for four days.  He said he was serious, so I assume he was.  Although I understood that he was sober for longer.  Maybe he relapsed?  I hope he stays on the right path.

After a cover song that I didn’t know (“Cry to Me” by Solomon Burke) they played the song I knew best.

Talbot dedicated “Danny Nedelco” to the bravery and hard work of every immigrant.

They ended the show with “Rottweiler.”  Introducing the song he said it was an anti-fascist song.  When someone in the audience said “fuck ’em!” he replied in a surprising way: “don’t fuck’ em.  listen to ’em, love em and they may change.”

It was a terrific ending to an amazing show.  And yes, I would certainly see them again–just standing safely off to the side.  In fact I hope everyone goes to see them–their shows are fantastic.

Oh and don’t watch Fox News, it will give you cancer.

SETLIST

1. Colossus ℑ
2. Heel/Heal ß
3. Never Fight a Man With a Perm ℑ
4. I’m Scum ℑ
5. 1049 Gotho ß
6. Divide and Conquer ß
7. Mother ß
8. Faith in the City ß
9. Love Song ℑ (Snippets: “You’re the One That I Want” John Travolta, Olivia Newton-John, “I Don’t Want to Wait” Paula Cole)
10. Date Night ß
11. Television ℑ
12. Samaritans ℑ
13. Benzocaine ß
14. Cry to Me (Solomon Burke cover)
15. Danny Nedelko ℑ
16. Rottweiler ℑ (With snippet: “Streets of Philadelphia” Bruce Springsteen)

ℑ = Joy as an Act of Resistance (2018)
ß = Brutalism (2017)