Can't be arsed now to file much of a review of Idles at EOTR, but they were exciting... all the words that have been used already upstairs, visceral, etc, certainly apply.
We bailed out after about half-way, the squash of exhuberent youth in front of the mixing desk a bit too claustrophobia-inducing on a Sunday evening.
But Submission and Danny Nedelko, were pretty triumphant, and there's more of Jason Williamson than i'd realised in the delivery (who i'd noticed having a lurking something of Kevin Coyne and Roger Chapman more recently), and a lot of Killing Joke (and i'm sure i don't need a lot of Killing Joke nowadays).
The kidz loved 'em.
Amongst the points of discussion in this thread, it's interesting to compare the sadness and innocence of Coyne's little explanation at the end of his sublime Whistle Test performance of House on the Hill with an interview by the confidence and certainty of the young men that are the heavily promoted Idles.
That is a fantastic Coyne piece. Great playing all round in fact.
I managed about 5 secs of Idles inane 'banter'. I dunno must be getting old, they're just annoying and arch (and covered in pathetic tattoos). Coyne comes across as just totally genuine (and properly talented) but then I do think that was a lot easier in 1973. It would take some serious effort not to get drawn into the vapid, self-promoting bullshit that is so ubiquitous today.
My words seem to have tripped over themelves at the end of my post there, i meant their confidence and certainty... but the contrast is the striking thing, Coyne was very often a wreck live, not intendedly i think but because of his 'proclivities'. I remember, and it's not apocryphal, that he actually was tripping when he played at Hyde Park in 1974 or whenever it was... i saw him several times and he was always completely convincing; it was almost disturbing the way he seemed to feel it so much.
One of the best and most interesting bits of EOTR for me was a talk by Ian Marchant, who's written a sort of ragged history
of 'the counter culture'; he makes a good argument for when it began and ended: 1956, and 1994, with the arrival of Blair. Especially important is his point about how you loved bands and music in the 70s because no-one else knew about it... "No one has heard of them" was a mark of commendation. It really was. Now it's all over the place instantly, and all over almost as quickly.