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Idles
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Idles are a British post-punk band formed in Bristol in 2009.[1] The band consists of Adam Devonshire (bass), Joe Talbot (vocals), Mark Bowen (guitar), Lee Kiernan (guitar), and Jon Beavis (drums).
Key Information
After spending eight years honing their live performances, the band released their debut album, Brutalism, in 2017 to critical acclaim.[2][3] Their second album, Joy as an Act of Resistance (2018), increased their exposure significantly,[4] and was followed by their first UK number one album, Ultra Mono, in 2020.[5]
The band released their fourth album, Crawler, in 2021.[6] Tangk, their fifth studio album, was released in 2024 and became their second to reach number one in the UK. In 2025, the band provided the film score to Darren Aronofsky's feature film, Caught Stealing.[7]
History
[edit]2009–2015: Formation, Welcome and Meat/Meta EPs
[edit]Welsh frontman Joe Talbot was born in Newport and spent his late teenage years in Devon.[8] Talbot and bassist Adam Devonshire met in sixth form college in Exeter. Talbot and Devonshire then both moved to Bristol where they studied at the St Matthias Campus of the University of the West of England and decided to start a band.[9] According to Talbot, "It took us a long time to get productive because we didn't know what the fuck we were doing at all, we were fucking terrible for a long time."[10] Talbot and Devonshire went on to open the Bat-Cave Night Club in Bristol.[11] Guitarist Mark Bowen moved from Belfast to study in Bristol and met Talbot while on the DJ circuit.[8]
The band's first release was the Welcome EP in 2012.[12] By 2014 the band comprised Talbot, Devonshire, guitarists Mark Bowen and Andy Stewart, and drummer Jon Beavis.[13] They released a second EP, Meat, which saw them embrace a much harder-edged direction from their early work, and Meta, an EP of remixes, in 2015,[14] and then started writing songs for their debut album.[9] Also in 2015, guitarist Andy Stewart was replaced by Lee Kiernan.
2016–2017: Brutalism
[edit]After the 2016 singles "Well Done"[15] and "Divide & Conquer",[16] the band released their first album, Brutalism, in March 2017 to critical acclaim.[9][17][18] DIY gave it 4 stars, calling it "An exhilarating escape along frenzied rhythms and powerhouse rhythms with a ferocious commentary for guidance...as vital as it is volatile."[19] The Line of Best Fit website gave it 9/10, calling Idles "one of the most exciting British bands right now".[20] It received an 8/10 from PopMatters, with Ian King calling it "bracing, caustic, and relentless".[21] Uncut gave it a similarly positive review, calling it "A rare rock record with the rage, urgency, wit and shattering of complacency usually found in grime".[22] Talbot's mother died after a long illness while the band was working on the album and is pictured on the cover, along with a sculpture by Talbot and his father.[13] Her death gave Talbot and the band a new focus.[13] They toured to support Brutalism, and supported the Maccabees on the London shows of their farewell tour,[23] as well as supporting the Foo Fighters for the O2 Arena's 10th Birthday.
2018–2019: Joy as an Act of Resistance
[edit]
After several festival appearances throughout Europe, they began working on their second album, Joy as an Act of Resistance, which was released on 31 August 2018.[13][24][25] Accompanying the release of Joy, the group created an exhibition in collaboration with HM Electric Gallery in London, taking place 30 and 31 August 2018.[26]
In 2019, the band was nominated for Best Breakthrough Act at the 2019 Brit Awards[27] and later won the 2019 Kerrang! Award for Best British Breakthrough Act.[28] That same year, Joy as an Act of Resistance was shortlisted for the 2019 Hyundai Mercury Prize. The band performed "Never Fight a Man with a Perm" at the ceremony on 19 September. In December, they played various shows across the UK, including a packed concert of 10,000 at London's Alexandra Palace.
2020–2021: Ultra Mono
[edit]During the latter stages of their Joy as an Act of Resistance tour in December 2019, Idles performed three new songs which were confirmed to be from their then-unannounced third album,[29] which Talbot confirmed was finished and being mixed in an interview with Zane Lowe that same month.
Following the promotional single "Mr. Motivator" in May 2020, Talbot announced their third album, Ultra Mono, in June, on Steve Lamacq's Radio 6 show.[30] The album was supported by a further four singles; "Grounds", "A Hymn", "Model Village" and "War" in June, July, August and September 2020, respectively. The record also features guest appearances from Jehnny Beth, Warren Ellis, David Yow and Jamie Cullum.[30] In 2020, Idles received two nominations at the Berlin Music Video Awards: the music video "Never Fight a Man With a Perm" received a nomination for Best Animation and "Mercedes Marxist" was nominated for Best Concept.[31]
Ultra Mono was released through Partisan Records on 25 September 2020 to predominantly positive reviews, with Louder Than War awarding it a 10 out of 10 and describing it as "the album of their career".[32] The band followed the release of the album with a remix of "Model Village", featuring Slowthai.[33]
In 2021 the band received the Best Punk Record award for the album at the American Association of Independent Music’s (A2IM) Libera Awards.[34] Also in 2021, the band released three covers: Sharon Van Etten's "Peace Signs" (for Van Etten's commemorative Epic Ten album),[35] Gang of Four's "Damaged Goods" (for the Andy Gill tribute album The Problem Of Leisure)[36] and Metallica's "The God That Failed" (for the charity tribute album The Metallica Blacklist).[37]
2021–2023: Crawler
[edit]On 28 September 2021, shortly over a year after the release of Ultra Mono, the band released the single "The Beachland Ballroom". Coinciding with the announcement the band announced the release of their fourth studio album, Crawler, to be released later in the autumn.[38] Prior to the album's release, the second single, "Car Crash", was released. The song was written about Talbot's real-life car accident.[39]
Crawler was released on 12 November 2021 through Partisan Records, and it was met with critical acclaim. Matt Mitchell, writing for Paste, gave the album an 8.8 out of 10 saying that Crawler "is magnetic storytelling tempered with newfound patience".[40] Damien Morris, of The Observer, called Crawler a "thrilling, glass-gargling introspection", giving the album a full five out of five stars.[41] Stuart Berman of Pitchfork gave Crawler a 7 out 10, the highest rating the band has received from the website. Berman said that "the Bristol band’s fourth album plays like the dark origin story for how Idles became the preeminent life coaches of modern post-punk."[42]
After being unable to tour for Ultra Mono due to the COVID-19 pandemic, the two albums were promoted in a worldwide tour from late 2021 to late 2022. During the tour, the band released two music videos from Crawler. The first, "When the Lights Come On", premiered on 13 December 2021 with direction from the company, Holding Hands with Horses.[43] On 8 February 2022, the music video for "Crawl!" was released. The video was a claymation video directed by LOOSE and Edie Lawrence.[44]
In April 2022, the band performed at Coachella Music and Arts Festival, with Desert Sun describing their performance as "rambunctious" and "chaotic".[45]
2023–2025: Tangk and scoring Caught Stealing
[edit]On 18 October 2023 the band released the single "Dancer", featuring backing vocals by James Murphy and Nancy Whang from LCD Soundsystem. They also announced their fifth album Tangk, which was released on 16 February 2024 and co-produced by the team of Kenny Beats, Nigel Godrich and guitarist Mark Bowen.[46] "Dancer" was later named by NME as the 49th best song of 2023.[47]
On 6 December 2023, the band released the follow-up single "Grace",[48] and later released "Gift Horse"[49] on 14 January 2024. On February 14, the band released a music video for "Grace" that used footage from Coldplay's video for "Yellow". Using deep fake technology, Chris Martin is made to appear as though he is singing "Grace" rather than "Yellow". The idea for the video reportedly came to Talbot in a dream, and was done with not only Martin's approval but his cooperation – filming himself singing the song in order to train the AI to make it appear more realistic.[50]
On 17 April 2024, the band released a music video for "Pop Pop Pop" while on a worldwide tour that started in February 2024.[51] The music video was shot on location in Iceland.
On Friday 28 June 2024 Idles played at Glastonbury where they were the final act performing on the 'Other Stage'. At one point during the performance they were joined on stage by American rapper Danny Brown. The band toured the album extensively throughout 2024 and 2025, culminating in two hometown shows at Queen Square, Bristol on August 1 and August 2, 2025.
During this time, the band recorded the film score for Darren Aronofsky's 2025 feature film, Caught Stealing, with an accompanying soundtrack album scheduled for release on August 29, 2025. Alongside the score, the band recorded four new songs for the soundtrack. Reflecting on the experience, Joe Talbot noted: "This has been a huge opportunity for us that seemingly came about after a chance meeting backstage at Fallon when we both happened to be guests on the same day. But in hindsight, I realise that Darren is one of my favourite directors and his films have in some ways made me who I am as an artist. This lucid dream has been a lifetime in the making and one that I will live over and over with a huge sense of humility and joy."[7] Aronofsky elaborated: "I built Caught Stealing to be a roller coaster of fun and wanted to supercharge the film by main lining a punk sensibility. I don’t think a band has really been tasked with performing a score for a movie. Who better to collaborate with than IDLES? It has been a dream watching them bend their notes to blast a hole in our movie screen."[7]
2025–present: Sixth studio album and collaborations
[edit]In July 2025, Joe Talbot confirmed that the band are recording their sixth studio album with producers Nigel Godrich and Kenny Beats, who had both previously worked with the band on Tangk (2024). Talking to NME, Talbot noted: "We’ve recorded a bunch of songs. We’ve got like ten songs and we’re going to go back and do a bunch more. We’re doing some other projects in between, but we’re going to come back to the album later in the year and get it finished. We’re recording with Kenny [Beats] and Nigel [Godrich] again. It’s really magic, I can’t wait. [...] This album is more driven. That’s all I can say, really. There’s more [of] a drive to it."[52]
In September 2025, it was announced that the band would feature as guest collaborators on the Gorillaz album The Mountain, on the song "The God of Lying."[53] Bowen also worked as a co-producer and co-writer of Florence and the Machine's sixth studio album Everybody Scream, which was released on 31 October 2025.[54]
Musical style
[edit]
Idles' music has been described as post-punk,[55][56][57][58][59] punk rock,[60][61][62] post-hardcore,[63] hardcore punk,[64] and art rock.[65] Talbot rejected the punk label;[66] in 2017, he said: "We're not a post punk band. I guess we have that motorik, engine-like drive in the rhythm section that some post punk bands have, but we have plenty of songs that aren't like that at all."[13]
Political activism
[edit]![[icon]](https://en.wikipedia.org/wiki/File:Wiki_letter_w_cropped.svg){kind=small} | This section needs expansion. You can help by adding to it. (September 2025) |
Idles have been described as a "post-Brexit" political rock band.[67] Their songs include political messages on a diverse range of topics including feminism, mass media and immigration. British newspaper The Guardian wrote in 2024 that "the subjects the band sparred with along the way ranged from white privilege to Brexit to immigration to class, with a special wallop reserved for the crueler aspects of traditional masculinity".[68]
English punk duo Bob Vylan criticised Idles in June 2020, accusing them of neglecting to comment on the murder of George Floyd, and alleged that this was for commercial reasons. Idles responded by saying that they took time to comment on the murder of Floyd because "there was a lot of virtue-signalling and we wanted to make sure that anything we contributed was going to be [helpful]". Bob Vylan again criticised the band a month into the Gaza war for not speaking about the Palestinian cause despite being left-wing.[69] Subsequently, Joe Talbot voiced support for Palestinians at the launch show for the album Tangk, by changing lyrics to include references to Palestine, while guitarist Mark Bowen led chants of "ceasefire now".[70] The band have continued to speak about the topic, including during their set at the 2024 Glastonbury Festival.[71][72]
Members
[edit]Current
- Adam Devonshire – bass guitar, backing vocals (2009–present)
- Joe Talbot – lead vocals (2009–present)
- Mark Bowen – lead guitar, backing vocals (2009–present), electronics, keyboards (2021–present)
- Jon Beavis – drums, backing vocals (2011–present)
- Lee Kiernan – rhythm guitar, backing vocals (2015–present)
Former
- Andy Stewart – rhythm guitar, backing vocals (2009–2015)
- Jon Harper – drums (2009–2011)
Former touring musicians
- Tina Maynard – rhythm guitar (2021), lead guitar, keyboards, backing vocals (2022; substitute for Mark Bowen)[73][74]
- Thomas "Tank" Barclay – bass guitar (2025; substitute for Adam Devonshire)
Timeline
Discography
[edit]- Brutalism (2017)
- Joy as an Act of Resistance (2018)
- Ultra Mono (2020)
- Crawler (2021)
- Tangk (2024)
Awards and nominations
[edit]| Award | Year | Category | Nominated work | Result | Ref. |
|---|---|---|---|---|---|
| AIM Independent Music Awards | 2022 | Best Live Performer | Themselves | Nominated | [75] |
| Brit Awards | 2019 | British Breakthrough Act | Nominated | [27] | |
| Berlin Music Video Awards | 2020 | Best Concept | "Mercedes Marxist" | Nominated | |
| BEST ANIMATION | "Never Fight a Man with a Perm" | Nominated | |||
| 2021 | Best Editor | "War" | Nominated | ||
| 2024 | Best Trashy | Gift Horse | Nominated | ||
| Grammy Awards | 2023 | Best Rock Performance | "Crawl!" | Nominated | [76] |
| Best Rock Album | Crawler | Nominated | |||
| 2025 | Best Rock Performance | "Gift Horse" | Nominated | [77] | |
| Best Rock Song | Nominated | ||||
| Best Rock Album | Tangk | Nominated | |||
| Ivor Novello Awards | 2019 | Album Award | Joy as an Act of Resistance | Won | [78] |
| Kerrang! Awards | 2019 | Best British Breakthrough | Themselves | Won | [28] |
| Libera Awards | 2020 | Best Live Act | Won | [79] | |
| 2021 | Best Punk Record | Ultra Mono | Won | [80] | |
| Best Creative Packaging | Nominated | ||||
| 2022 | Best Rock Record | Crawler | Won | [81] | |
| Video of the Year | "Car Crash" | Nominated | |||
| 2023 | Best Live/Livestream Act | Live on From the Basement | Nominated | [82] | |
| 2024 | Music Video of the Year | "Dancer" | Won | [83] | |
| Best Short-Form Video | "Grace" teaser | Won | |||
| Mercury Prize | 2019 | Best Album | Joy as an Act of Resistance | Nominated | [84] |
| NME Awards | 2020 | Best British Band | Themselves | Nominated | [85] |
| Best Band in the World | Nominated | ||||
| 2022 | Best Live Act | Nominated | [86] | ||
| Q Awards | 2018 | Best Breakthrough Act | Won | [87] | |
| Best Album | Joy as an Act of Resistance | Nominated | |||
| UK Music Video Awards | 2020 | Best Rock Video – UK | "War" | Won | [88] |
| Best Cinematography in a Video | Nominated | ||||
| Best Editing in a Video | Nominated | ||||
| 2022 | Best Rock Video - UK | "Crawl!" | Nominated | [89] | |
| Best Animation in a Video | Nominated | ||||
| 2024 | Best Rock Video – UK | "Dancer" | Nominated | [90] | |
| "Gift Horse" | Won |
References
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- ^ a b c Staff, Spin (30 July 2025). "IDLES Record Score, New Tracks For Darren Aronofsky's 'Caught Stealing'". Spin. Retrieved 30 July 2025.
- ^ a b McSorley, Kevin (19 April 2019). "Idles a subversive band that disagrees vehemently with our government". Irish News. Retrieved 2 August 2019.
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- ^ "Brute Force: The Contrary World Of IDLES". Clash Magazine. 15 March 2017. Retrieved 31 August 2019.
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- ^ "Idles – Brutalism", Uncut, April 2017, p. 32
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- ^ a b Daly, Rhian (12 January 2019). "IDLES, The 1975, and Dua Lipa amongst stars nominated for 2019 BRIT Awards". NME. Retrieved 24 January 2019.
- ^ a b "Kerrang! Awards 2019: Here's the Full List of Winners". Kerrang!. 19 June 2019. Retrieved 19 June 2019.
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- ^ a b Skinner, Tom (16 June 2020). "IDLES announce third album 'Ultra Mono' and share new track 'Grounds'". NME. Retrieved 17 June 2020.
- ^ Berlin Music Video Awards (7 May 2021). "Nominees 2020". Berlinmva.com. Retrieved 7 May 2021.
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- ^ Chelosky, Danielle (27 May 2021). "IDLES – "Damaged Goods" (Gang Of Four Cover)". Stereogum. Stereogum Media. Retrieved 6 May 2022.
- ^ He, Richard S. (10 September 2021). "Every Metallica Blacklist cover ranked from worst to best". Loudersound.com. Retrieved 24 October 2021.
- ^ Bloom, Madison (28 September 2021). "Idles Announce New Album Crawler, Share Video for New Song: Watch". Pitchfork. Retrieved 28 September 2021.
- ^ Daly, Rhian (3 November 2021). "Watch IDLES' video for abrasive new single 'Car Crash'". NME. Retrieved 22 February 2022.
- ^ Mitchell, Matt (11 November 2021). "IDLES Emerge from Quiet Spaces with Fearless Ferocity on CRAWLER". Paste. Retrieved 22 February 2022.
- ^ Morris, Damien (14 November 2021). "Idles: Crawler review – thrilling, glass-gargling introspection". The Guardian. Retrieved 22 February 2022.
- ^ Berman, Stuart (17 November 2021). "IDLES: Crawler – Album Review". Pitchfork. Retrieved 22 February 2022.
- ^ Golsen, Tyler (14 December 2021). "IDLES release new video for 'When the Lights Come On'". Far Out Magazine. Retrieved 22 February 2022.
- ^ Ackroyd, Steven (8 February 2022). "IDLES have debuted a new video for 'Crawl!'". Dork. Retrieved 22 February 2022.
- ^ Blueskye, Brian (25 April 2022). "Coachella 2022: IDLES follows Arcade Fire on Mojave stage". Desert Sun. Retrieved 6 May 2022.
- ^ Trendell, Andrew (18 October 2023). "Idles share 'Dancer' and tell us about "transgressive" new album Tangk". NME. Retrieved 18 October 2023.
- ^ "The 50 best songs of 2023". NME. 4 December 2023. Archived from the original on 19 January 2024. Retrieved 6 January 2024.
- ^ Dunworth, Liberty (6 December 2023). "Idles share soulful new single 'Grace'". NME. Retrieved 6 January 2024.
- ^ Mega, Aidan (3 February 2024). "Idles break free from the reins on 'Gift Horse'". Atwood Magazine. Retrieved 3 February 2024.
- ^ Chelosky, Danielle (15 February 2024). "IDLES Deepfake Coldplay's Chris Martin For New "Grace" Video". Stereogum. Stereogum Media.
- ^ "IDLES Finds "Freudenfreude" In "POP POP POP" Music Video". idobi. Retrieved 10 May 2024.
- ^ Trendell, Andrew (22 July 2025). "IDLES tell us about "the end of an era" and working on "more driven" new material". NME. Retrieved 22 July 2025.
- ^ https://www.radiox.co.uk/artists/gorillaz/new-album-the-mountain-the-happy-dictator-single-2026-uk-ire-dates-tickets/
- ^ Boisvert, Lauren (11 August 2025). "Florence + The Machine share cryptic chilling teaser for possible new album". Vice. Retrieved 19 August 2025.
- ^ Choudhury, Amaya (14 March 2024). "'Tangk' is an ambitious album from British post-punk band IDLES". The Michigan Daily. Retrieved 28 April 2025.
- ^ Hendrickson, Matt (22 September 2020). "Idles Are Throwing a Post-Punk Revolution, and Everyone's Invited". The New York Times. Retrieved 12 May 2024.
- ^ Cooper, Matthew (20 February 2019). "Who are Idles? Bristol post-punk band nominated for best breakthrough act – Manchester Evening News". Manchester Evening News. Retrieved 14 April 2019.
- ^ "In Advance of Upcoming Agora Show, IDLES Frontman Talks About the British Post-Punk Band's Musical Evolution". Clevescene. Retrieved 28 April 2025.
- ^ "Idles: Neues Album, neue Single und ausverkaufte Konzerthallen". Rolling Stone (in German). 29 September 2021. Retrieved 28 April 2025.
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- ^ Beaumont, Mark (6 April 2017). "Post-Brexit punk and austerity anthems – 2017's political rock resurgence". The Guardian. Retrieved 12 December 2017.
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- ^ Hann, Michael (24 November 2017). "Idles deliver a blast of rage and joy at Village Underground, London". Financial Times. Retrieved 12 May 2024.
- ^ Rimmer, Jonathan (20 August 2018). "Idles On Creating Positive Punk in a Climate of Fear". The Skinny. Retrieved 12 May 2024.
- ^ [1] [dead link]
- ^ Beaumont, Mark (6 April 2017). "Post-Brexit punk and austerity anthems - 2017's political rock resurgence". The Guardian. ISSN 0261-3077. Retrieved 3 December 2024.
- ^ Farber, Jim (13 February 2024). "The return of Idles: 'I don't have to hide behind violence any more'". The Guardian. ISSN 0261-3077. Retrieved 3 December 2024.
- ^ Dunworth, Liberty (10 November 2023). "Bob Vylan call out "cowardly" Sleaford Mods and IDLES for not speaking out on Palestine". NME. Retrieved 3 December 2024.
- ^ Trendell, Andrew (17 February 2024). "Idles show solidarity with Palestine at 'Tangk' launch show in Brixton". NME. Retrieved 3 December 2024.
- ^ "Glastonbury 2024: Idles dedicate song to "people of Palestine"". faroutmagazine.co.uk. 28 June 2024. Retrieved 3 December 2024.
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- ^ "IDLES. GLASTONBURY PRESENTS: LIVE AT WORTHY FARM. 'WAR' | Film | D U G D a L E". 4 February 2023.
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- ^ Grein, Paul (28 September 2022). "Wet Leg, Stormzy & Rina Sawayama Win at 2022 AIM Independent Music Awards: Full Winners List". Billboard. Retrieved 7 October 2022.
- ^ "2023 GRAMMY Nominations: See The Complete Nominees List". GRAMMYs. 15 November 2022. Retrieved 15 November 2022.
- ^ "2025 GRAMMYs: See The OFFICIAL Full Nominations List". GRAMMYs. 8 November 2024. Retrieved 16 November 2024.
- ^ Ainsley, Helen (23 May 2019). "The 2019 Ivor Novello Awards winners have been announced, including Mariah Carey, Wiley and The 1975". Official Charts. Retrieved 20 November 2021.
- ^ "2020 – Libera Awards". Archived from the original on 30 July 2020. Retrieved 30 July 2020.
- ^ "Phoebe Bridgers, Run the Jewels & Perfume Genius Among Top Nominees For 2021 Libera Awards". Billboard. Retrieved 14 June 2021.
- ^ Aswad, Jem (23 March 2022). "Japanese Breakfast, Jason Isbell, Arlo Parks Lead Indie-Music Collective A2IM's 2022 Libera Awards Nominees". Variety. Retrieved 25 March 2022.
- ^ Aswad, Jem (22 March 2023). "Wet Leg Leads Nominations for A2IM's Indie Libera Awards". Variety. Retrieved 22 March 2023.
- ^ Schube, Will (20 March 2024). "A2IM Announces Libera Award Nominees, Including Mitski, Killer Mike, and Caroline Polachek". Flood Magazine. Retrieved 9 April 2024.
- ^ Edelstone, Steven; Manno, Lizzie (25 July 2019). "2019 Mercury Prize Nominations Announced: Predictions, Snubs and More". Paste Magazine. Retrieved 29 July 2019.
- ^ Trendell, Andrew (20 January 2020). "NME Awards 2020: Full list of nominations revealed". NME. Retrieved 1 August 2021.
- ^ Trendell, Andrew (27 January 2022). "BandLab NME Awards 2022: Full list of nominations revealed". NME. Retrieved 27 January 2022.
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- ^ "UK Music Video Awards 2020: all the nominations!". Promonews. Retrieved 29 September 2020.
- ^ "UK Music Video Awards 2022: all the nominations for this year's UKMVAs". Promonews. 28 September 2022. Retrieved 28 September 2022.
- ^ "UK Music Video Awards 2024: all the nominations for this year's UKMVAs". Promonews. 25 September 2024. Retrieved 27 September 2024.
External links
[edit]
Idles
View on Grokipediafrom Grokipedia
History
2009–2015: Formation and early EPs
IDLES were formed in Bristol, England, in 2009 by vocalist Joe Talbot, originally from Wales, and bassist Adam Devonshire, amid the city's DIY punk scene.[10] The duo initially struggled to assemble a stable lineup, recruiting and cycling through guitarists and drummers while self-releasing early demos to test material in local venues.[11] By 2012, the group had coalesced around Talbot and Devonshire with additional members, enabling their first formal recording efforts despite persistent challenges in securing consistent performances and funding.[12] The band's debut extended play, Welcome, arrived on 6 August 2012 via the small independent label Balley Records, comprising four tracks including "26/27" and "Meydei."[13][14] This release captured their nascent raw energy, self-produced and distributed in limited quantities to build grassroots support through Bristol-area gigs and independent circuits.[15] Early shows often occurred in intimate DIY spaces, reflecting the financial precarity of unsigned acts reliant on day jobs and minimal resources, with no interest from major labels at the time.[16] Lineup refinements continued into 2014, stabilizing with guitarists Mark Bowen and Lee Kiernan alongside drummer Jon Beavis, paving the way for further independent output.[11] In October 2015, IDLES issued the Meat EP on 30 October, featuring tracks like "Queens" and "The Idles Chant," paired with the remix companion Meta EP to expand their sonic palette without compromising autonomy.[17] These EPs, handled through boutique channels, underscored the band's persistence in a landscape dominated by rejection and self-reliance, amassing a modest but dedicated following prior to broader recognition.[18]2016–2017: Brutalism and breakthrough
In 2016, Idles recorded their debut studio album Brutalism in London with producer Space over the course of one week.[19] The sessions emphasized a raw, unpolished sound reflective of the band's DIY ethos, capturing their intense live energy through minimal overdubs and direct sonic aggression.[20] Released on 10 March 2017 via Balley Records, the album comprised 13 tracks, including "Benzocaine," which confronts mental health struggles by depicting drug use as a means to numb profound personal pain and disconnection.[21][22] Brutalism received widespread critical acclaim for its visceral production and confrontational style, with reviewers praising its rejection of mainstream polish in favor of authentic punk ferocity.[23] This reception propelled the band into expanded touring, including a 25-date UK headline tour commencing on 6 March 2017, which showcased their high-energy performances to growing audiences.[24] Initial commercial performance was modest, with sales building gradually through word-of-mouth rather than heavy promotion, fostering a dedicated cult following.[25] The album's breakthrough extended to international exposure, marked by the band's debut US appearance at South by Southwest (SXSW) in 2017, introducing their sound to American listeners amid festival circuits that amplified their raw appeal.[26] Performances at events like the Haldern Pop Festival further solidified their reputation for delivering unrelenting intensity, transitioning Idles from local Bristol act to a recognized force in the post-punk revival.[27]2018–2019: Joy as an Act of Resistance
IDLES released their second studio album, Joy as an Act of Resistance, on 31 August 2018 via Partisan Records.[28] The record was produced by Space and recorded at Studio 123 in Los Angeles, featuring a more structured sound with emphasis on communal positivity amid hardship.[29] It debuted at number eight on the UK Albums Chart, marking the band's first top-ten entry and signaling broader commercial appeal following Brutalism's underground success.[30] The album achieved silver certification from the British Phonographic Industry in December 2019 for sales exceeding 60,000 units in the UK.[31] Central to the album's themes was lead singer Joe Talbot's framing of joy as a deliberate counter to personal grief, inspired by losses including the stillbirth of his daughter in 2016 and his mother's debilitating stroke when he was a teenager.[32][33] Tracks like "Danny Nedelko," named after Talbot's Ukrainian-born friend and fellow musician, directly affirmed the value of immigrants while decrying racism, with Talbot stating the song simply conveys "I love immigrants" without equivocation.[34] This approach extended the band's critique of social divisions but pivoted toward affirmative resilience rather than unfiltered rage.[35] Post-release, IDLES undertook rigorous touring across Europe and North America, culminating in high-profile festival appearances such as their 2019 set at Glastonbury's Truth Stage, which drew significant crowds and amplified their live reputation for high-energy performances.[36] These efforts correlated with heightened visibility, as the album's reception propelled merchandise and ticket sales, underscoring the band's transition to sustainable viability in the independent music scene.[37] By emphasizing collective catharsis in lyrics and shows, IDLES positioned Joy as an Act of Resistance as both artistic evolution and cultural statement against nihilism.[38]2020–2021: Ultra Mono amid pandemic
Idles released their third studio album, Ultra Mono, on 25 September 2020 via Partisan Records.[30] The record debuted at number one on the UK Albums Chart, securing the band's first chart-topping position and outselling the rest of the top five combined, with strong contributions from physical formats including the year's fastest-selling vinyl release.[39] [40] [41] Production, led by Nick Launay and Adam Greenspan, yielded a sonically honed and aggressive output, emphasizing concise riffs and effects-driven arrangements that amplified the band's thematic push for unified self-acceptance against societal fragmentation.[42] [43] The album's rollout coincided with stringent COVID-19 lockdowns in the UK, which halted in-person touring and live events, forcing a pivot to digital platforms for promotion and consumption.[44] Idles adapted by staging ticketed live streams from Abbey Road Studios on 29 and 30 August 2020, performing preview sets of tracks like "Model Village" and "Mr. Motivator" to an online audience, alongside participation in virtual events such as the Minecraft-based Block by Blockwest festival in April 2020.[45] [46] These measures sustained fan connection amid restrictions that canceled broader tour plans, with frontman Joe Talbot later noting the album's high-energy intent translated poorly without live validation.[47] Tracks such as "War" and "Grounds" critiqued media-driven divisions and identity pressures, channeling aggression rooted in isolation and class tensions, factors intensified by pandemic-induced societal withdrawal.[48] Commercial resilience stemmed from elevated streaming and vinyl demand during lockdowns, as physical sales surged industry-wide—up 30.5% to £86.5 million—bolstered by online campaigns, enabling Ultra Mono to top charts without physical concerts.[49] [50]2021–2023: Crawler and lineup changes
IDLES released their fourth studio album, Crawler, on November 12, 2021, through Partisan Records.[51] The record represented a marked introspective pivot from the band's earlier aggressive post-punk energy, centering on frontman Joe Talbot's personal battles with addiction and emotional recovery.[52] Talbot chronicled his 15-year history of substance abuse, including episodes of isolation and relapse, as in the opener "MTT 420 RR," where he recounts being "cold and high" in February.[53][7] Talbot's contributions stemmed from ongoing therapy and sobriety efforts, framing Crawler as a process of confronting trauma and fostering accountability rather than external critique.[54] He attributed the album's vulnerability to processing familial influences, such as his mother's death from alcoholism, which informed lyrics emphasizing healing amid pain.[55] This personal focus emerged post-Ultra Mono's pandemic-era production, with Talbot prioritizing raw self-examination over collective anthems.[56] The band's core lineup remained stable throughout the period, comprising Talbot on vocals, Mark Bowen and Lee Kiernan on guitars, Adam Devonshire on bass, and Jon Beavis on drums, with no departures or additions reported.[57] Kiernan, who achieved sobriety years prior, emphasized guitar experimentation on Crawler, employing pedalboards for glitchy, atmospheric tones that underscored the album's emotional shifts without altering his primary role.[58][59] Bowen co-produced, integrating these elements to evolve the sound toward introspection while retaining punk roots.[20] Live activities resumed amid vaccine rollouts, starting with UK outdoor headline shows in summer 2021 and the "Beauty from Ashes" US tour in fall, followed by 104 performances in 2022 alone, including European festivals like Hurricane Festival.[60][61] These engagements demonstrated sustained demand, bridging Crawler's release to broader touring without lineup disruptions.[62]2023–2025: Tangk, film scoring, and recent singles
In February 2024, IDLES released their fifth studio album, Tangk, through Partisan Records.[63][64] The album was co-produced by Nigel Godrich and Kenny Beats, marking a shift toward smoother production elements while retaining the band's raw energy.[65][66] Tracks such as "Gift Horse" explore themes of gratitude and personal reflection, contributing to the record's introspective tone amid its post-punk aggression.[63] Tangk received strong critical acclaim, with reviewers praising its ambitious blend of distortion, melody, and emotional depth, often highlighting it as the band's most refined work to date.[65][67] The album debuted at number one on the UK Albums Chart, underscoring IDLES' growing commercial momentum.[68] To support the release, the band embarked on extensive tours, including high-profile North American dates that showcased expanded production and live intensity, such as their September 2024 New York City performance.[66] In 2025, IDLES expanded into film scoring with the soundtrack for Darren Aronofsky's crime thriller Caught Stealing, performing original music that infused the project with their signature ferocity.[69] The full soundtrack album was released digitally on August 29, 2025, coinciding with the film's theatrical debut, followed by a vinyl edition in December.[70][71] This marked a multimedia pivot, incorporating tense, atmospheric compositions alongside four new songs tailored to the film's narrative.[72] Recent standalone singles included "POP POP POP" from Tangk, issued in February 2024, and a remix featuring Danny Brown released on December 17, 2024.[73][74] "Rabbit Run," debuted as a single on July 30, 2025, originated from the Caught Stealing sessions, emphasizing urgent post-punk rhythms suited to the film's action sequences.[68][75] These releases sustained the band's streaming presence, with Tangk-era tracks accumulating millions of plays across platforms like Spotify, though specific chart peaks for the singles remained outside major territories.[76]2025–present: Work on sixth album and live activities
In July 2025, IDLES confirmed they had begun recording their untitled sixth studio album, with approximately ten songs already tracked and the material characterized by frontman Joe Talbot as "more driven" in style.[77] The band, handling production internally following their collaboration with Kenny Beats on the prior album Tangk, intended to pause sessions temporarily before reconvening in late 2025 to complete the project, though no specific release date was announced.[78] The group maintained an active touring schedule amid album development, headlining two consecutive homecoming performances at Bristol's Queen Square on 1 and 2 August 2025—their sole UK shows for the year—supported by acts including Soft Play, Lambrini Girls, and The Voidz.[79] In September, IDLES closed Riot Fest in Chicago on 21 September with a surprise guest appearance by Jack White, who joined them onstage for a rendition of "Never Fight a Man With a Perm" from their 2018 album Joy as an Act of Resistance.[80] Further live engagements included frontman Joe Talbot's solo event "10 Songs That Made Me," hosted by BBC Radio 6 Music's Chris Hawkins, set for 25 November 2025 at Manchester's AO Arena, where Talbot discussed pivotal tracks from his musical influences in an intimate format.[81] These activities underscored IDLES' continued emphasis on live performance and community engagement post-Tangk, sustaining momentum without disclosing additional album specifics as of October 2025.[82]Musical style and influences
Core elements and evolution
IDLES' sound centers on a post-punk framework defined by Joe Talbot's shouted vocals, delivered with visceral aggression and rhythmic precision to evoke urgency and confrontation.[83] The band's rhythm section anchors this intensity, with bassist Adam Devonshire's lines providing propulsive, grindy drive through gear like the Tech 21 SansAmp Bass Driver DI, which imparts distortion and sustain for an engine-like momentum that underpins tracks across their discography.[84] Repetitive motifs and bursts of noise further amplify this foundation, creating a dense sonic wall that builds tension and facilitates cathartic release, as heard in the chaotic yet ordered fury of early cuts like "Well Done" from Brutalism.[85][86] Production techniques emphasize analog warmth and live-room energy, particularly in collaborations with engineer Space for Brutalism (2017) and Joy as an Act of Resistance (2018), where minimal processing preserved raw edges and bleed between instruments to heighten immediacy.[20] This lo-fi approach, reliant on basic tracking in modest setups, prioritized instrumental interplay over polish, resulting in a gritty texture suited to the band's high-energy dynamics.[87] Evolutions in subsequent releases reflect growing technical command and studio resources, transitioning to denser layering without diluting core aggression; Ultra Mono (2020), produced by Nick Launay and Adam "Atom" Greenspan, introduced cleaner mixes with enhanced separation, while Crawler (2021) incorporated analog tape recording at Real World Studios for drum captures that added organic depth via Studer 2-inch machines.[88] By Tangk (2024), co-produced with Kenny Beats, arrangements expanded into richer, experimental terrains—featuring textured overlays and varied instrumentation like synths and percussion—yet retained rhythmic drive, as in the motorik grooves of opener "Gift Horse," marking a causal progression tied to lineup stability, repeated producer synergies, and access to professional environments rather than abrupt stylistic pivots.[89][90]Key influences from punk and beyond
IDLES' musical style draws heavily from post-punk pioneers, particularly the angular guitar riffs and political urgency of Gang of Four, as articulated by frontman Joe Talbot in early interviews where he listed them alongside Joy Division and Bauhaus as foundational influences shaping the band's rhythmic drive and confrontational edge.[91] This lineage manifests in IDLES' adoption of motorik basslines and aggressive, staccato guitar patterns, filtered through Bristol's post-punk revival scene, which emphasized raw, heavy textures over 1970s punk simplicity.[92] The band also channels the DIY ethics and high-intensity dynamics of Washington, D.C. hardcore acts like Fugazi, evident in Talbot's praise for their leftist positioning and noise-infused post-hardcore approach, which parallels IDLES' commitment to independent production and live ferocity.[93] Fugazi's influence extends practically through production collaborations, such as Guy Picciotto's work on related projects, reinforcing IDLES' emphasis on ethical self-reliance over commercial punk tropes.[94] Similarly, the raw energy of The Clash informs IDLES' socially charged songwriting and stage presence, with the band explicitly covering Clash material like "Police and Thieves" for film soundtracks, signaling direct homage to their blend of punk rebellion and broader genre fusion.[95] Extending beyond punk, IDLES incorporate hip-hop's rhythmic punch and production techniques, as seen in their partnership with producer Kenny Beats on Ultra Mono (2020), where Talbot sought to infuse tracks with hip-hop-derived aggression to heighten impact.[96] Talbot has further cited diverse sources like jungle and jazz in shaping the band's percussive layers, adapting these into fuzz-laden riffs and propulsive beats that evoke metal's tonal weight without abandoning post-punk's core urgency.[97] These elements, drawn empirically from Talbot's interviews rather than abstracted narratives, underscore IDLES' evolution within Bristol's eclectic underground, prioritizing visceral delivery over stylistic purity.Lyrical themes
Personal struggles and social critique
IDLES' lyrics frequently explore frontman Joe Talbot's personal hardships, including struggles with anxiety, addiction, and physical trauma, often rooted in autobiographical reflections informed by his therapy experiences. Talbot has credited therapy with enabling a shift toward vulnerability, transforming earlier expressions of raw anger into more self-aware examinations of individual pain, as seen in the evolution from the band's debut Brutalism (2017), which channeled torment and frustration from personal disasters, to later works emphasizing self-acceptance.[98][99][100] These personal narratives extend to social critique by linking individual cycles of violence and self-destruction to broader societal flaws, particularly through a working-class lens that prioritizes lived realism over ideological abstraction. In "Never Fight a Man With a Perm" from Joy as an Act of Resistance (2018), Talbot dissects hyper-masculine aggression and its perpetuation of harm, using vivid imagery to warn against fighting those embodying unchecked bravado, which he positioned as a sharp counter to the album's heavier emotional tones.[38][101] Similarly, "Colossus," the album's opener, frames nationalism's ugliness through Talbot's introspective lens on masculinity's muscular posturing, building from restrained tension to explosive release as a metaphor for suppressed personal and collective rage.[102][103] Talbot's approach draws authenticity from his Bristol upbringing and direct confrontation of class-informed ignorance, where lyrics admit self-directed anger amid societal disconnection, fostering catharsis for listeners facing parallel struggles.[104] This raw honesty has been praised for articulating inarticulable fury stemming from deep-seated personal conflicts, though some observers note occasional oversimplification in distilling complex hardships into confrontational slogans.[86][105]Masculinity, identity, and vulnerability
IDLES' frontman Joe Talbot has articulated that vulnerability serves as a form of armor against rigid male norms, drawing from his own therapeutic processes and sobriety journey beginning in February 2017 to challenge internalized toxic traits such as suppressed emotions and performative stoicism.[37][106] In songs like "Samaritans" from the 2018 album Joy as an Act of Resistance, Talbot directly confronts the mask of masculinity, with lyrics urging men to "cry now" and discard the facade that equates emotional restraint with strength, rooted in his observation that such suppression perpetuates personal and relational harm without absolving accountability for past behaviors.[107][108] Tracks such as "Mother" further exemplify this deconstruction by addressing paternal shortcomings and regret over emotional unavailability, as Talbot reflects on his failures toward his late mother, Valerie, who died in 2017 from leukemia, using raw admission to highlight how unexamined male identity contributes to cycles of inadequacy rather than excusing them.[101] Similarly, "Danny Nedelko" fosters empathy as a counter to insular self-identity, celebrating interpersonal bonds across differences to dismantle the isolation often tied to conventional masculinity, with Talbot citing his Ukrainian-born friend Danny as a catalyst for rejecting divisive "us vs. them" mentalities.[38][105] This approach has resonated empirically through fan communities like the AF Gang, where members report lyrics prompting disclosures of mental health struggles, suicide ideation, and relational breakdowns, fostering a space for mutual support that Talbot describes as essential for transcending individual trauma.[109][99] However, skeptics, including some online commentators, have critiqued these explorations as potentially performative, arguing that the band's high-energy, aggressive stage presence and commercial trajectory undermine the sincerity of vulnerability advocacy, viewing it as a stylistic pivot rather than authentic reckoning.[110] Talbot has acknowledged partial validity in broader band criticisms, attributing them to his earlier unfiltered persona while maintaining the thematic consistency stems from lived causality over optics.[111]Politics, activism, and controversies
Stated political positions and actions
IDLES have articulated opposition to Brexit through their 2018 single "Great," whose music video explicitly critiques the 2016 referendum and its societal divisions.[112] The band also signed a 2020 petition protesting post-Brexit travel restrictions that hinder artists' international work, describing them as "devastating" for the music industry.[113] Frontman Joe Talbot has voiced support for immigration, drawing from personal connections, as in the 2018 track "Danny Nedelko," dedicated to a Ukrainian-born friend and emphasizing immigrants' contributions to British society.[114] During a June 2024 Glastonbury performance of that song, an unannounced Banksy installation released inflatable rafts with migrant dummies into the crowd, aligning with the band's pro-immigrant messaging.[115] The band has demonstrated solidarity with Palestine at live shows, including leading "Free Palestine" chants at the Shaky Knees Festival on September 20, 2025, and dedicating their June 2025 Primavera Sound set with cries of "Viva Palestina."[116][117] Following George Floyd's murder by police on May 25, 2020, IDLES issued a statement on June 6 promoting a virtual Black Lives Matter protest, after internally debating the timing to ensure thoughtful engagement rather than immediate reaction.[118][119] Talbot and guitarist Lee Kiernan have publicly addressed addiction recovery—Talbot through sobriety achieved via therapy and Kiernan marking seven years sober by 2019—urging fans during 2025 shows, such as Shaky Knees, to seek support for substance struggles.[120][116] Talbot has stated anti-monarchist positions, criticizing unelected leadership and foreign occupations, while expressing a wish to see the British government "crushed" as a fascist entity in a February 2024 interview.[121] He has also praised former Prime Minister Gordon Brown and endorsed Keir Starmer as the "best person" for leadership in April 2024 remarks.[122]Criticisms of authenticity and performative elements
Critics have accused IDLES of engaging in performative activism, with their lyrical and public stances on social issues viewed by some as prioritizing signaling over genuine substance. In music forums such as ILX, contributors have described the band's output as "performative and condescending," more concerned with accumulating "woke points" than delivering meaningful critique.[123] This perception intensified around the release of albums like Ultra Mono in 2020, where detractors argued that the band's aggressive posturing masked superficial engagement with topics like racism and toxic masculinity.[124] A central thread of criticism targets IDLES' handling of class dynamics, with accusations that the band condescends to working-class audiences by implying inherent bigotry tied to non-university education or socioeconomic status. Sleaford Mods frontman Jason Williamson, in 2019 comments, charged IDLES with "appropriating, to a certain degree, a working-class voice" despite not embodying it, labeling their political lyrics as "cliched, patronising, insulting and mediocre."[125] He specifically critiqued lines suggesting even privileged figures like "Tarquin" work, interpreting them as dismissive of genuine working-class struggles. Similarly, Fat White Family's Lias Saoudi highlighted how such narratives perpetuate assumptions that working-class identity equates to racism or ignorance, stating in 2020 that he had endured lifelong presumptions of being "thick and a racist" due to his background.[126] These views posit that IDLES overlooks nuances in working-class conservatism, reducing complex social attitudes to simplistic class-based pathology. Practical inconsistencies have fueled authenticity doubts, notably in 2019 when fans criticized IDLES for predominantly all-male tour support acts, arguing it undermined the band's vocal opposition to toxic masculinity and gender norms. A Twitter user questioned the lineup's alignment with IDLES' ethos, prompting the band to clarify inclusions like Miss June, City Rose, and Life, though the episode underscored perceived gaps between rhetoric and action.[127] In response to such backlash, IDLES frontman Joe Talbot has reflected on internal shortcomings. In a November 2021 Irish Times interview, Talbot conceded, "A lot of the criticism of us was my fault," attributing early band reception to his own aggressive tendencies and preachy delivery, which he linked to personal growth through therapy and sobriety.[111] This admission, amid ongoing online discussions—such as Reddit threads from 2020 onward dissecting the band's "pretentious" politics—highlights a pattern where performative elements invite skepticism, even as the band evolves toward more introspective themes.[128]Feuds and public backlash
In 2020, IDLES frontman Joe Talbot engaged in a public dispute with Fat White Family vocalist Lias Saoudi, stemming from accusations that IDLES appropriated a working-class voice while engaging in performative social justice rhetoric.[129] Saoudi, echoing earlier criticisms from Sleaford Mods' Jason Williamson, described IDLES as representing "everything that is wrong with contemporary cultural politics" and accused them of "grandstanding on that woke ticket."[130] Talbot responded by defending the band's sincerity, stating in a Guardian interview that he was "not virtue signalling" and emphasizing personal experiences with class struggles, though the exchange highlighted tensions within the UK post-punk scene over authenticity and class representation.[35] Saoudi later clarified his views in an essay, acknowledging shared frustrations but maintaining critiques of IDLES' approach to political messaging.[131] Bob Vylan, a British punk duo, publicly criticized IDLES in November 2023 for remaining silent on the Israel-Palestine conflict amid calls for bands to voice support for Palestine following the October 7 Hamas attacks and subsequent Gaza operations.[132] Vocalist Bobby Vylan labeled IDLES and Sleaford Mods as "cowardly" for not addressing the issue, contrasting their prior outspokenness on other social matters. IDLES later showed solidarity by displaying Palestinian flags and chanting pro-Palestine slogans during a February 2024 show in Bristol promoting their album Tangk.[133] The band's avoidance of female support acts on their 2020 tour drew backlash, with critics questioning the all-male lineups amid IDLES' advocacy for inclusivity. When pressed, Talbot attributed the choices to a scarcity of suitable female-led acts at the time and quipped about needing "government legislation" to mandate diversity, a remark that amplified perceptions of inconsistency.[134] Singer Nadine Shah highlighted the issue, noting IDLES had cited inability to afford her as an opener despite her fitting their ethos. This incident fueled broader accusations of performative allyship, though the band maintained the decisions reflected practical touring constraints rather than deliberate exclusion.[110] Post-success backlash intensified around perceptions of "selling out," with detractors on platforms like Reddit and in music press arguing IDLES' commercial rise—evidenced by sold-out arenas and major label deals—undermined their punk credibility and anti-establishment lyrics.[110] Talbot acknowledged in 2021 that some criticism stemmed from his own "preachy" communication style, admitting fault in alienating audiences while defending the band's evolution.[111] In February 2024, IDLES' music video for "Grace" utilized AI deepfake technology to recreate Coldplay's 2000 "Yellow" visuals, with Chris Martin providing input to refine the likeness; while cleared by the involved parties, it sparked fan debates over AI's role in art, with some accusing the band of gimmickry amid punk's traditionalist ethos.[135][136]Band members
Current lineup
The current lineup of IDLES consists of Joe Talbot on lead vocals, Adam Devonshire on bass guitar and backing vocals, Lee Kiernan on guitar, Mark Bowen on guitar and backing vocals, and Jon Beavis on drums.[137][138] This five-piece formation has demonstrated stability, supporting the band's progression through multiple album cycles and extensive touring without major personnel shifts since the mid-2010s.[139] Mark Bowen has played a key role in broadening the group's instrumentation, integrating synthesizers and lower-frequency textures into their guitar-driven post-punk style, particularly evident from Crawler (2021) onward.[59][140]Former members and contributions
Jon Harper served as the band's original drummer from its formation in Bristol in 2009 until 2011.[141] During this period, he participated in early rehearsals and live shows as IDLES honed their post-punk sound, though the group had yet to release any recorded material.[141] His departure preceded the arrival of Jon Beavis, who joined in 2011 and has drummed on all subsequent studio output, including the debut EP Mechanics (2012) and albums starting with Brutalism (2017).[141] [139] No public details specify creative differences or other reasons for Harper's exit, but the change occurred amid the band's pre-label phase, limiting his contributions to foundational development without association to commercial releases or hits.[141] Bassist Adam Devonshire has been a constant since 2009, with no recorded turnover in that position.[139] The core lineup of vocalist Joe Talbot, Devonshire, and guitarists Mark Bowen and Lee Kiernan solidified post-Harper, enabling the band's breakthrough.[139]Discography
Studio albums
IDLES' debut studio album, Brutalism, was released on 10 March 2017 by Partisan Records.[142][21] The band's second album, Joy as an Act of Resistance, followed on 31 August 2018, also via Partisan Records, and peaked at number 5 on the UK Albums Chart, with total sales reaching 98,441 units.[143][144][145] Ultra Mono, the third studio album, appeared on 25 September 2020 through Partisan Records and debuted at number 1 on the UK Albums Chart.[41][146] The fourth album, Crawler, was issued on 12 November 2021 by Partisan Records.[147] TANGK, released on 16 February 2024 via Partisan Records, marked the band's second number 1 on the UK Albums Chart, with first-week consumption of 20,230 units.[148][149][143]EPs and singles
IDLES' debut extended play, Welcome, was independently released on 6 August 2012 via Fear of Fiction Records. The four-track EP featured "26/27", "Meydei", "Germany", and "Two Tone", showcasing the band's early indie rock influences prior to their punk evolution.[13][150] The follow-up EP, Meat, emerged on 30 October 2015 through Balley Records, comprising "Queens", "The Idles Chant", "Romantic Gestures", and "Nice Man". This release marked a shift toward the raw, aggressive sound that defined their later work, with limited physical copies initially available. A remixed version, Meat/Meta EP, appeared on white vinyl for Record Store Day on 13 April 2019, including alternate mixes by David Pajo.[14][151][152] The band has issued various singles, frequently as album previews or standalone tracks. "Model Village", released in August 2020 ahead of Ultra Mono, critiqued post-Brexit insularity and peaked at number 3 on the UK Rock & Metal Singles Chart. "Dancer", featuring contributions from LCD Soundsystem's James Murphy and Nancy Whang, served as the lead single for Tangk on 19 October 2023. In 2025, "Rabbit Run" debuted on 30 July as part of the original soundtrack for Darren Aronofsky's film Caught Stealing, emphasizing the band's ongoing film scoring ventures.[153])[154]Other releases
IDLES released their first live album, A Beautiful Thing: IDLES Live at Le Bataclan, on December 6, 2019. Recorded on December 3, 2018, at Le Bataclan in Paris during the final show of a 90-date world tour supporting Joy as an Act of Resistance, the album captures performances of tracks primarily from Brutalism (2017) and Joy as an Act of Resistance (2018).[155][156] In 2022, the band issued Five Years of Brutalism, a re-release commemorating the fifth anniversary of their debut studio album Brutalism. Released on December 9, 2022, via Partisan Records, it features the original 13 tracks alongside additional material, expanding to 26 songs totaling approximately 90 minutes, with new artwork designed by frontman Joe Talbot and limited-edition cherry red vinyl pressings.[157][158][159] IDLES contributed to the soundtrack for the 2025 film Caught Stealing, directed by Darren Aronofsky, with the album Caught Stealing (The Original Motion Picture Soundtrack) credited to IDLES and composer Rob Simonsen. Released digitally on August 29, 2025, with vinyl following on December 19, 2025, via Partisan Records, it comprises 16 tracks lasting 44 minutes, including four original IDLES songs ("Doom," "Rabbit Run," "Kim's Video," and "Tompkins Square Park"), a cover of the Clash's rendition of "Police and Thieves," and IDLES' performances of score elements tailored to the film's 1990s New York punk-inspired aesthetic.[160][95][161]Critical reception and legacy
Album reviews and commercial performance
IDLES' debut album Brutalism (2017) earned widespread critical acclaim, achieving a Metacritic score of 88 out of 100 based on six reviews, with critics praising its raw energy and sincerity.[162] The follow-up Joy as an Act of Resistance (2018) matched this score of 88 out of 100, lauded for its blend of social commentary and motivational anthems across numerous publications.[163] Subsequent releases saw slightly varied reception: Ultra Mono (2020) scored 76 out of 100, noted for its power and wit despite some critiques of consistency;[164] Crawler (2021) received 82 out of 100 for its introspective depth;[165] and Tangk (2024) garnered 78 out of 100, with reviewers highlighting its vibrant experimentation.[166] Commercially, early albums reflected IDLES' niche status within the post-punk scene. Brutalism achieved modest visibility, peaking at number 65 on the UK Albums Chart during a 2022 re-entry driven by renewed interest.[30] Joy as an Act of Resistance marked a breakthrough, reaching number 5 in the UK and number 4 on the US Heatseekers Albums chart, signaling growing crossover appeal.[30][167] The band's ascent to mainstream success accelerated with Ultra Mono, which debuted at number 1 on the UK Albums Chart with 27,000 units in its first week, predominantly physical sales, and entered the US Billboard 200 at number 54 while topping independent shop sales for 2020.[40][168] Crawler continued this momentum with strong initial sales, though lower than its predecessor at under 14,400 units for the UK top spot contender.[148] Tangk secured a second UK number 1 with 20,230 units in week one, 85% from physical formats including vinyl dominance.[143][169]| Album | Release Year | Metacritic Score | UK Peak | US Peak |
|---|---|---|---|---|
| Brutalism | 2017 | 88/100 | 65 (2022 re-entry) | - |
| Joy as an Act of Resistance | 2018 | 88/100 | 5 | Heatseekers 4 |
| Ultra Mono | 2020 | 76/100 | 1 | Billboard 200 54 |
| Crawler | 2021 | 82/100 | Top 10 | - |
| Tangk | 2024 | 78/100 | 1 | - |
Cultural impact and debates over influence
IDLES have exerted influence on the post-punk and punk revival scenes by modeling a fusion of aggressive instrumentation with lyrics advocating personal vulnerability and collective resilience against social ills like toxic masculinity and economic inequality, inspiring acts to prioritize raw emotional candor over detachment.[171] This approach, evident in their 2018 album Joy as an Act of Resistance, has been credited with extending the legacy of UK post-punk forebears like The Fall into contemporary contexts, where bands adopt similar repetitive, chant-like structures to amplify anti-authoritarian messages.[172] Their emphasis on "joy" as resistance has rippled into broader punk discourse, encouraging a shift from nihilism toward affirmative solidarity, as seen in the emulation of their high-energy, crowd-participatory live dynamics by emerging UK and US groups since 2017.[173] Debates over the band's influence center on whether their ascent reflects genuine punk ethos or amplification via digital ecosystems and cultural alignment. Critics argue that IDLES' rapid visibility, from niche Bristol act to festival headliners by 2019, owes much to social media platforms like Facebook's "AF Gang" community—launched around 2017—which has fostered a tightly knit fanbase sharing personal stories of trauma and recovery, potentially creating insulated affirmation loops rather than broad organic diffusion.[4] This dynamic, while credited with building vulnerability-driven support networks exceeding thousands of members by 2022, has drawn charges of echo-chamber activism, where simplistic anti-racism and class-war rhetoric risks alienating working-class audiences outside academic or urban bubbles, as highlighted in their 2020 feud with Fat White Family over presumptions of universal bigotry.[35] Counterarguments posit IDLES as vital catalysts for punk's renewal, attributing their impact to unmediated live confrontations that predate viral spread, with sold-out tours from 2017 onward demonstrating sustained draw through sheer sonic force rather than hype.[4] Detractors' overhype claims often stem from punk purism's aversion to mainstream traction, yet empirical metrics like chart peaks—Ultra Mono reaching UK No. 1 in 2020—and festival slots underscore a causal chain from grassroots gigs to wider emulation, untainted by commercial dilution.[171] Nonetheless, their cultural footprint, while amplifying youth disillusionment amid 2020s instability, invites scrutiny for mirroring institutional biases in media coverage that favor ideologically congruent voices, potentially inflating perceived influence beyond verifiable band-to-band transmissions.[174]Awards and nominations
IDLES received a nomination for the Mercury Prize in 2019 for their album Joy as an Act of Resistance, which was shortlisted alongside works by artists including Dave and The 1975, though Dave's Psychodrama ultimately won.[175][176] The band has accumulated four Grammy Award nominations as of 2025, with no wins. These include Best Rock Album for Crawler in 2023, as well as nominations in 2025 for Best Rock Album and Best Rock Performance for "Gift Horse" from Tangk, marking their first multi-category recognition in a single year.[177][178]| Year | Award | Category | Work | Result |
|---|---|---|---|---|
| 2019 | Mercury Prize | Album of the Year | Joy as an Act of Resistance | Nominated[175] |
| 2023 | Grammy Awards (65th) | Best Rock Album | Crawler | Nominated[177] |
| 2025 | Grammy Awards (67th) | Best Rock Album | Tangk | Nominated[177] |
| 2025 | Grammy Awards (67th) | Best Rock Performance | "Gift Horse" | Nominated[177] |