Live Report: IDLES Block Party, Opening Night – Queens Square, Bristol

      Community, collisions, and chaos—these were the three elements fans anticipated from an IDLES show, and Friday's performance certainly lived up to expectations. Dubbed a ‘block party’ and set in the scenic Georgian Queen’s Square in Bristol city center, this two-day event was one of the most highly anticipated occurrences on Bristol’s 2025 agenda. With 15,000 fans attending the band's only UK shows this year—especially in their hometown—it was guaranteed to be a success.

      With the sun shining and cider flowing, the usually tranquil square morphed into a punk hub, and the festival atmosphere reached its peak. Kicking off at 5 pm with two supporting acts, Night 1 was essentially a substantial gig, but the beautiful setting, pleasant weather, and abundance of enticing food stalls drove everyone into a euphoric state.

      However, true to the IDLES spirit, politics and enjoyment were harmoniously intertwined. The band, along with opening acts Lambrini Girls and SOFT PLAY, took the stage to address the shocking situation in Gaza before diving into the music. With a concerning trend of the media primarily attacking outspoken punk musicians rather than focusing on real war crimes, it was a significant opportunity to highlight the glaring hypocrisy.

      At 6 pm, Lambrini Girls hit the stage to energize the already filled venue. Just seconds into ‘Big Dick Energy,’ the crowd erupted with excitement. By the second song, Phoebe Lunny was in the audience, urging everyone to get down on their knees. Their 35-minute set, featuring ‘Company Culture’ and ‘Terf Wars,’ compelled the audience to let loose. A challenging act to follow, but IDLES had once again selected another provocatively captivating act: SOFT PLAY (formerly Slaves).

      It was astonishing the ruckus this duo created, and their jibe at each vaper in the crowd only added to their appeal. They stormed through fifteen tracks at an exhilarating pace, with ‘Bin Juice Disaster’ and ‘John Wick’ standing out. During ‘Girl Fight,’ Isaac prompted a fan to do a backflip, which they accomplished effortlessly. It was raw, wild, and demanded reciprocal energy from the crowd. Excellent stuff.

      I have yet to attend a disappointing IDLES show, and Friday’s performance was no exception. Being a Bristol gig, many in the audience had supported the band for years before their debut release, while others were newcomers enthusiastic to see them based on their reputation. A photographer for CLASH last spotted them fourteen years ago in a venue of 100—what a drastic change of environment.

      Joined by their touring baritone saxophonist Colin Webster, the band quickly got into the groove, charging right into ‘Colossus’ from their second album, ‘Joy as an Act of Resistance.’ It was a powerful beginning that sent the audience into a frenzy.

      There are seldom quiet moments at an IDLES show, and with a home crowd that appeared to know every song and lyric, this was especially true. By song six—fan favorite ‘I’m Scum’—Clash had already been tossed around the pit so much they felt like an old pair of trainers in a washing machine. The anthems came fast: ‘The Wheel’, ‘POP POP POP’, ‘The Beachland Ballroom.’ Frontman Joe Talbot swung his mic like a wild lasso, guitarists Mark Bowen and Lee Kiernan joined the crowd at various points, and bassist Dev beamed at the sheer chaos. Business as usual—and business was thriving.

      Although the entire show felt like an encore (which is somewhat the group's trademark), the real finale with ‘Dancer’, ‘Danny Nedelko’, and ‘Rottweiler’ was hard to top. The crowd and band erupted in exhilaration. With the world feeling more chaotic than ever, IDLES’ shared expression of both rage and love was not just appreciated, but felt essential.

      After extending heartfelt thanks, it was time to wrap up. The majority of the audience then flocked to nearby King Street for some much-needed refreshments following all the moshing. Some had lost shoes, many had acquired bruises—but everyone wore a broad, joyful smile. Can we do it again next year, please?