Idlewild

Idlewild – Aberdeen Music Hall

Live music, Music Review

On the weekend that Idlewild released their latest album Interview Music they played 3 separate sets in Aberdeen; two at the AECC for the BrewDog shareholders’ AGM and one semi-acoustic instore at HMV. Whether by coincidence or by design they also rounded out the UK leg of their Interview Music tour at the city’s recently transformed Music Hall on Sunday night with a rousing set of modern classics and old favourites.

The XCERTS had the privilege and responsibility of getting the bank holiday crowd warmed up for one of their own favourite bands, which proved to be more than within their capabilities. The three-piece, originally from Aberdeen, have been sailing a sea of praise since their fourth album Hold On To Your Heart was released at the beginning of 2018. Their unapologetically ripe blend of instantly sing-a-long-able choruses, almost-familiar riffs and heart-on-sleeve lyrics on this album and subsequent out-takes EP, Wildheart Dreaming, seem to connect with even the grittiest of old school Idlewild supporters. There’s no denying Murray MacLeod’s stunning vocal is the centrepiece of these songs; whether rocking out on upbeat openers Daydream and the Petty-esque Drive Me Wild, or crooning through piano-lead power ballad The Dark, his delivery is loaded with melodrama and earnest romanticism. The ten-song set rushes by to close with the irresistible a cappella chorus of Feels Like Falling In Love. Job done. The crowd is suitably thawed.

Following a career highlight tenth show at the Barrowlands in Glasgow the night before Idlewild seem astonishingly relaxed when they take to the Music Hall stage. Their energy and resolve is not diminished any by the previous night’s antics however and they set straight to task bringing Interview Music alive for their assembled followers. Dream Variations introduces the new album straight away with equal measures of everything this band is about in 2019; a rock-solid rhythm section, duelling guitars and piano, soaring harmonies and, of course, Roddy Woomble’s abstract lyricism. A curious feature on the new album that comes into play further as the set progresses is the mid-song change-up; a different tempo, a different energy, new melodic ideas break through. The title track takes one of these moments to catch its breath before launching an all out sonic assault. It’s not out of place, more a reminder that the band still love to jam, still love to throw everything into their performance.

New songs are few and far between, for being an album-specific tour, but where they do come they’re well received by the Aberdonian crowd. Woomble points out that the record sold particularly well in the city, so it’s unsurprising to see so many people singing along. Radio single Same Things Twice sees fists in the air and voices raised as if it’s been in the set for the last decade. Admittedly, it has one of the catchiest choruses on the new album, and live it takes on a coarseness and density to rival anything off 100 Broken Windows. Indeed songs like Roseability and Little Discourage elicit spontaneous pitch perfect sing-a-longs and the crowd need little prompting to join in when Woomble says he’s needing support on Live In A Hiding Place. Another mid-set highlight is the frenetic and angular A Ghost In The Arcade. Washed in strobing green, white and blue lights, it closes with a rambunctious solo from guitarist, Rod Jones, and finds Woomble watching on not from his usual shadowy side-of-stage vantage point but from the front corner of the stage; an indication of just how relaxed he is within the performance.

From the point of American English the set takes off on a melodic upward trajectory, buoyed by the crowd and reciprocated by the band. It leaps from El Capitan to yet another reworked rendition of the fan favourite When I Argue I See Shapes, altogether faster and fuzzier than on the previous tour but still not as messy as the original. This could be its best incarnation yet.

The band wave a brief “thank you and goodnight” but don’t waste much time before returning for their encore. They still have a lot to deliver but spare some grace to introduce the first song, in tribute to Scott Hutchison, a cover of the gut-punching Frightened Rabbit anthem Head Rolls Off. It’s powerfully uplifting from start to finish, leaving many faces scorched with defiantly jubilant tears. The encore is relentless rock after that, wringing out every last ounce of love from either side of the barrier. As if the band had something to prove. Finishing with In Remote Part / Scottish Fiction there’s still a sense that the band could come back for a second encore and the crowd are restless and demanding until the house lights finally come on. It’s enough, for now. They’ll probably be back; seems they quite like playing Aberdeen. And they would be welcome, any time.

Idlewild ; The Remote Part 20th Anniversary – O2 ABC

Live music, Music Review

It’s nine years to the date since Idlewild played The Remote Part in full, midway through a sold out run of album shows at Glasgow’s legendary King Tut’s.

Now two sold out nights in succession at the O2 ABC to celebrate the 15th anniversary of the album’s release is indisputable proof of its popularity and continued relevance to fans. Whether The Remote Part is your favourite Idlewild record, or the album that turned you onto the band, it continues to hold a special place in the hearts of fans. For many it’s considered Idlewild’s coming of age album; perfecting their sound and songwriting, and bettering their contemporaries with a blend of vividly poetic lyrics, enviable riffs, tempered piano and anthemic choruses. The audience demographic tonight suggests it was many people’s coming of age soundtrack as well. There’s a weight of anticipation in the air.

A bonus for those who arrive early is a short set from Frightened Rabbit’s Scott Hutchison and performance poet Michael Pedersen. Each wordy and melodic in their own ways, the cherubic Pedersen delights with his “lippy Scots” tales of romantic disappointment and smut, while Hutchison delivers a brief but no less rousing set of acoustic songs from the Frabbit back catalogue.

Scott Hutchison

When Idlewild take to the stage they are met with an excitable reception, almost congratulatory, before what feels like an expectant pause. The question of whether they will start with the album is answered with the opening guitar of Little Discourage ringing out as the band spring into action. Four more songs from 100 Broken Windows follow before Roddy Woomble breaks to introduce the main event. From this point on the crowd starts to loosen up, with permission from the front man. “You’re allowed to dance and move around”, he encourages before A Modern Way of Letting Go. A section of the audience complies and before too long there are crowdsurfers being lifted over the barrier.

“You know what comes next; the element of surprise is lost” Woomble concedes as the band ascends with a sparkling and emphatic performance of one of their biggest ‘hits’, American English, a song usually reserved for much later in the set.It’s just that way with The Remote Part, it plays almost like a greatest hits with so many songs still featuring in recent set lists. The crowd sing along and mean every word, belting it out like it’s Flower of Scotland. Yet it’s the lesser played songs, especially the back end of the record, that really shine and the crowd engagement on Out Of Routine and Stay The Same, with hands in the air and voices raised, reinforces the depth and strength of this album. It is thoroughly adored.

The band are having a great time of it too; Rod Jones is his typical hyperactive self, running a personal parkour route between amps, monitors and drum riser. Woomble and drummer Colin Newton are smiling almost constantly, soaking up the atmosphere. Relative new recruits Hannah Fisher (fiddle + guitar), Luciano Rossi (bass + keys) and Andrew Mitchell (bass + keys + guitar) who all joined the band for their most recent album elevate these old songs with their measured playing and exquisite harmonies. At times you catch them watching the crowd and each other with a joyful wonder. They are part of something truly special.
By the time natural closer In Remote Part / Scottish Fiction plays the audience have reached a state of peaceful ecstasy, allowing themselves and the room’s giant mirror ball to be engulfed in violin and poetry. It’s bliss. After a brief ‘thank you and goodnight’ the band return for an eight song encore, a bit of a throwback to their more recent shows including the reworked When I Argue I See Shapes, and the beautiful now almost choral renditions of I Understand It and El Capitan. They close out the night with a fevered finale in A Film For The Future, leaving punters sweaty, smiling, panting and emotionally spent; in many ways, young without youth.