The first gig of the year is always a tricky one. For folks of a certain vintage like me, it evokes memories of simpler times, when the new year brought around excitement because it meant travelling festivals like Big Day Out and later, Soundwave, were just around the corner. So that being said, a show in the January sun (or as it happens, not so much) at the Riverstage is a decent replacement and is always going to be strongly anticipated.

As someone who has any memory of those halcyon festival days, it seems that I am in the minority, as the Riverstage fills up with mostly 20-somethings up for a breezy, predictedly rain-effected, evening of beers, loud noises and, of course, political disquiet – as demanded by the times we find ourselves in.

First on as the afternoon gives way to evening and grey skies grow darker overhead is Voiid, locals who have brought a strong cohort to the foot of the stage. No strangers to big crowds (but this might be a new record for them), they’re showing no signs of nerves and just rip into what they do best, updated and upbeat 90s alt-rock.

The strong vocals of Anji Greenwood dominates the mix for the most part, and that’s no bad thing. The “we don’t give a fuck” attitude, the gnarly alt-tunes and snarling vocals are exactly what is called for to kick off the festivities and it all comes to a head with a cacophonic closer with a hail of feedback, big riffs and manic screams that harkened back to the likes of The Smashing Pumpkins and Veruca Salt. More of this please!

It was only a short wait between bands, but things seem to dial down as Brooklyn’s Nation of Language take the stage. It’s definitely an anomaly and maybe even a risk, booking an 80s synth pop trio to compliment a post-hardcore punk band at a 10,000 capacity venue, or it might even be a stroke of genius.

Whatever it is, I don’t mind it a bit and judging by the response neither do the 6,000 or so already in the venue. You can’t argue with that and, to be honest, if can hear influences like Human League, Ultravox and Depeche Mode as an appetiser for a couple of hours of aggressive loudness with something to say on a Saturday afternoon, count me in.

The band start with On Division Street with synths at the front of the mix and vocalist Ian Richard Devaney, showing that his studio monotone is not consistent with his live performance and he slinks and dances around the stage, at times lost in the band’s creations. They close out the first few songs as the rain, previously spitting, was now falling a sheet across the hillside and much of the crowd seek shelter at the foot of the stage, in a huge win for the support slot.

Those clamouring to the sanctuary of the front are treated to influences worn on the bands’ sleeves as Weak In Your Light has shades of Depeche Mode with dark, bass-heavy keyboard loops combining with Devaney’s haunting vocals..

The rain only gets heavier during the intermission. Shoes fill up with water and mud, the trek up the hill for beers becomes more treacherous and, while there are a few ponchos, many have given up, happy to surrender to nature in anticipation of the loudness to come.

Casually, Idles appear on stage and vocalist, Joe Talbot taking center stage pacing back and forth with purpose, getting his barings. ‘IDEA01’ provides an inauspicious, melodic opener before the arrival of the slow-burning percussive beast, ‘Colossus’ culminating with the crowd echoing and then chanting Talbot’s lyrics “goes and it goes, and it goes” as the song reaches its violently heavy climax. The song’s reprise provides a more raucous intro into ‘Gift Horse’.

It must be said, Talbot is, without a doubt, one of the finest frontmen I have ever seen live. He is instantly engaging and carves a powerful presence as the spits his slam poetry over the beautiful controlled chaos hewn from guitarists Mark Bowen and Lee Kiernan and drums of Jon Beavis with fill in bass player Tank.

He acknowledges the crowd, focuses his intensity down the centre and tells us to divide and collide. In a nearly sold-out Riverstage, soaked in rain, this is not easily done, but by the time Mr Motivator finishes a massive circle-pit has developed in its stead.

The rain falls heavier than ever. Shirts are surrendered to the night and even shoes get lost in the pit and thrown over the barrier. It’s utter chaos as both Bowen and Kiernan crowd surf, not even a third of the way through the set. It’s Talbot though who commands the attention and his left-leaning politics are on full display, as chav anthem ‘I’m Scum’ rings out, a laundry-list of the things Talbot has been called in his life, before declaring “this snowflake’s an avalanche”! Chune!

The setlist is relentless. It seems to be constructed to give a taste of the band’s releases in drips and drabs rather than an exploration of the eras. The crowd is never allowed to get comfortable as raw belters from Brutalism and Joy as an Act of Resistance like ‘Television’, ‘Mother’ and ‘Divide and Conquer’, are mixed in with the newer, experimental but no less explosive tracks from TANGK like ‘Gratitude’, ‘Jungle’ and ‘POP POP POP’.

The piercing opening guitar riff of Never Fight A Man With A Perm inspires a rush for the stage for the final flurry of tracks. Drummer Jon Beavis is a machine (and it’s unlikely the Riverstage will see a heavier hitter in 2025) and, assisted by Bowen – who also intermittently mans the synths – on the floor tom, provides a metronomic solo masterclass. From then, it’s a straight run through the increasing anarchic punk of ‘Dancer’, immigrant anthem, ‘Danny Nedelko’ and “anti-fascist song for anti-fascist people”, ‘Rottweiller’.

And with that, this stage presence and engagement masterclass is over. The hillside is a mudslide and the way out is a traffic jam, but I can’t complain. That show was an explosion of energy, power and love. Come back soon, Idles. We need more of whatever that was!

IDLES AUSTRALIA & NEW ZEALAND TOUR 2025
With special guests:

Tour Dates:
Tuesday, January 21: Sidney Myer Music Bowl, Melbourne
Wednesday, January 22: Hordern Pavilion, Sydney

Tickets on sale now:
For complete tour and ticket information, visit: livenation.com.au & livenation.co.nz