IDLES SETLIST
INJURY RESERVE SETLIST* *= we think... intro music: By the Time I Get to Phoenix
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Often, the best and most relevant music (be it rock, or any other genre) has an undeniable urgency about it-- something that cannot and will not be denied, that brings its passion and drive along with, and invites the listener to be an activist and not simply passive.
Buzzing UK alternative group IDLES embodies that, currently on their Crawler Tour, and stopping in Kansas City to play for the most sold-out crowd at The Truman, that we’ve ever seen.
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The evening started with a set from Tempe experimental hip-hop group, Injury Reserve, who formed in 2013, but was severely shaken when co-founder/vocalist Stepa J Groggs passed away in June 2020. Carrying on, Ritchie with a T and producer Parker Corey self-released their second studio album, By the Time I Get to Phoenix, led by singles “Superman That” and “Knees”, both of which were performed live.
Under a mostly darkened stage filled with a thick fog, the forty-five-minute set got underway with a droning hum, sound samples, and then stream of consciousness verse. Clashing sounds, feedback, blurbs, and noise rock were all combined and de-constructed by Corey, head down in his laptop, as Ritchie stalked the stage, dreadlocks swinging with the tempo of the unconventional beats as songs often flowed from one to the next.
“Pattern's still in place, algorithm's still in action”, Ritchie versed on “Top Picks for You”, this was definitely a sound to get your head around.
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Bristol, UK band IDLES had only performed once before in the area, a May 2019 appearance with Fontaines D.C. at recordBar that had become much talked about, to almost legendary status, ever since. And so, this return show (delayed like most things, as a result of the pandemic) was not only an instant sellout but had also risen to perhaps the most-anticipated area show of the year.
The alternative-aggro band (please don’t label them as “punk”) is composed of Joe Talbot- vocals; Lee Kiernan- guitar; Adam Devonshire-bass; Jon Beavis- drums; and Mark Bowen- guitar, with fellow Bristol guitarist Tina (Masca, Soeur) Maynard filling in seamlessly, for Bowen (out on paternity leave), and are out in support of their fourth album, Crawler, released last November.
We last caught the band live in Oct 2021, ahead of the newest record and playing much of their previous one, Ultra Mono, as that was released in Sept 2020, when there were no live music options to play those new songs.
A brooding musical intro gave way to Talbot slowly singing the opening lines of 2018’s “Colossus” and by the time he got to its first chorus, singing “Goes and it goes and it goes”, the crowd exploded – beer splashing, cans and debris flying, and a pit bouncing and whirling on the venue floor.
“Are you ready to collide?! Are you ready to love?!” Talbot asked before the new album’s “Car Crash” and the intensity level of band and crowd rose even further. “Let’s seize the day, you can do it”, Talbot encouraged on “Mr. Motivator”, inviting the ferocity back that the band was putting forth, all tempered not with any hate or anger, but more as an overall release.
“We did not sell this venue out, you did! - It’s a beautiful thing!” Talbot said before 2017’s “Mother”, a song that touches on Talbot’s relationships with his own mum, women in general, and even UK politics (not that the crowd cared) and found the audience singing the profane chorus back at the band, louder than Talbot could sing with his mic.
Their sound is like ninety-minutes of the London blitz, Panzer tanks, air raid sirens, and a carpet bombing all at once, and when fan crowd surfing is rampant during even the very slowest songs, it gives you an idea of the collective emotion level in the room.
“I guess this is far as we go” Talbot sang on 2017’s “1049 Gotho” but the crowd was having none of that particular idea, determined to push levels further. “I think with such energy, I need to say nothing more” Talbot said, noticing the intensity of what was being returned in kind.
The relatively delicate “A Hymn” gave way to the relentless and driving inner conflict of “War” after which, Talbot commended venue security for taking good care of the restless crowd. An ode to immigrants and open-mindedness, “Danny Nedelko” led into a complete setlist left turn, as Talbot crooned an acapella verse of Mariah Carey’s “All I Want for Christmas is You”, injecting a light, brief moment of frivolity.
The set and evening would end with one of their oldest songs, “Rottweiler”, a war cry but aimed against fascists, the tabloid press, and other unhealthy culture trends.
Perceived anger and fierceness, but always tempered with love and joy, is a very fine line to walk, but Bristol’s IDLES still bristles with an all-important urgency to their music, and a style that is a gift that keeps on giving.
IDLES TOUR DATES
- 03 SEP Riverside Theater MILWAUKEE, WI
- 04 SEP The Fillmore DETROIT, MI
- 07 SEP History TORONTO, ONT
- 08 SEP History TORONTO, ONT
- 09 SEP Agora Theatre CLEVELAND, OH
- 12 SEP PromoWest Pavilion at Ovation NEWPORT, KY
- 13 SEP Stage AE PITTSBURGH, PA
- 14 SEP The Anthem WASHINGTON, DC
- 15 SEP Kings Theatre BROOKLYN, NY
- 17 SEP Roadrunner BOSTON, MA
- 27 OCT James Hay Theatre CHRISTCHURCH, NZ
- 28 OCT Shed 6 WELLINGTON , NZ
- 29 OCT Town Hall AUCKLAND, NZ
- 31 OCT MELBOURNE, AUS
- 01 NOV The Forum MELBOURNE, AUS
- 02 NOV The Enmore Theatre SYDNEY, AUS
- 03 NOV The Enmore Theatre SYDNEY, AUS
- 05 NOV The Gov ADELAIDE, AUS
- 06 NOV Fortitude Music Hall BRISBANE, AUS
- 08 NOV The Astor Theatre PERTH, AUS
john c ([email protected]) ♥ weheartmusic.com ♥ twitter.com |
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