 |
 |
| Idlewild/ikara colt* 24/04/02 Bristol Anson rooms *aerogramme played as well but we kind of forgot to watch them. As with most of transdis’ evenings out and gig going, we started out in the pub where we attempted to prepare our questions for our interview with ikara colt. Eventually we stagger out of the pub and up to the Anson rooms where its surprisingly easy to explain to security about our interview and we end up in ikara colt’s dressing room. (you can read the interview itself elsewhere in this issue) We venture downstairs just before ikara colt begin their set and try to get as close to the front as possible, which we manage. Hurrah! Ikara colt tear into the blistering ‘Escalate’ which provokes whoops, jumping and singing from us but unfortunately the rest of the crowd don’t seem to be as receptive as we are. There are boos (cue a its good to be booed comment from Paul) and heckles from various quarters of the audience (usually along the lines of where are the strokes and other twattish remarks). However after ‘Rudd’, a newie and ‘Sink Venice’ the crowd seems to have changed their minds and are so happy and into the band they decide to rip up Paul’s shirt when he crowd surfs. It definitely looks like 2002 will be idlewild’s year, they’ve got the fanbase, the fantastic back catalogue and the new material by the sound of it will help to make them fucking massive, which is exactly what a band this good deserve. Unfortunately I can’t actually remember any of the names of the new stuff but everything they played sounded ace and got a good reception off the crowd. The shambolic and barking idlewild sets of a few years back are obviously a thing of the past now, which to be honest is no great shame, they’re noticeably tighter now (cue a slightly less violent crowd) and you can actually hear the tunes. Traditional set closer/encore ‘Captain’ is the opener, which to me is a fucking stroke of genius, get the past out of the way and steam ahead with the future. Unfortunately this doesn’t stop the shouts for the older stuff like ‘Fireworks…’ and ‘Satan Polaroid’. We do however get ‘I’m Happy To Be Here Tonight’ which is beautiful and leaves me with a massive smile on my face. Set closer ‘Film For The Future’ sounds stronger and more relevant than ever and we’re left with the impression of a great band that are only getting better. Jo |