![]() On one level, Idles are an olly-olly-olly affair: a direct band with a lot of route-one music that climaxes in massed shouted choruses. “I can’t believe we’re still having these conversations,” he mutters darkly. And what does the band’s bug-eyed, bearded lead growler do with the tumble dryer of testosterone churning before him? He lectures it about not touching anyone without their consent. ![]() Frontman Talbot might disavow the punk label, but the band’s higher gear certainly sends beer arcing upwards and creates a vortex in the centre of the room. The low ceiling helps, of course, but Idles also know how to create an atmosphere: hellish red lamps, searchlights and the way Colossus builds and builds owe something to the menace of old post-hardcore bands such as the Jesus Lizard or Swans, the song pivoting into a raucous punkoid thrash. Within moments of the deathwatch beetle percussion and end-of-days bassline that begins Colossus, the place is a sauna. You suspect every night on an Idles tour is a messy celebration – not for nothing is their second album named Joy As An Act of Resistance – but somehow, the normal rules banning crowd-surfing are suspended tonight. The band are off to Europe next and to Australia in January, where venues are being upgraded to satisfy demand. ![]() Earlier this month, Idles won Q’s best breakthrough act – an award they split with Goat Girl, because this year’s field was of such high quality. Earlier this year, the Bristol outfit’s independently released second album charted at No 5 it has now sold more than 25,000 copies, according to the label – an exciting amount for a furious record about Brexit and loving yourself.
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