Idlewild - Oxford, UK, Summer 2000
By: Toby L
Ah, an early summer's day in Oxford, home of the world's most famous university and notorious for its lovely buildings and sights. But, we're not here for all that lovey-dovey crap, we're here to have a chat with Idlewild... Well, OK, not all of Idlewild... Actually, just one of them (the others have to have showers some time, eh?). However, we're fortunate enough to be meeting the so-called most 'mysterious' character of the slashing, bashing and crashing UK rock-pop group, bassist Bob Fairfoull.
Fans and media-types will know that the longhaired string-cruncher is the one of the most famous of the group, because he's been reported as 'a bit strange'. On meeting him, though, and hopefully what this article will prove, is that he's not a weirdo, but in fact 'the cool one'. Every answer he offers is given as he peers through his swaying almost-shoulder length, bleached hair and a murmured Scottish accent. Eye contact with Bob is not common, but when he does stare back at you, it's hard not feeling like you've won him over; his acknowledgement of you acting like a sign of respect for what you're representing. He also answers aggressively to questions. Just explaining to him that this website tries to combat against cynical journalism, he's triggered off to slam virtually every journalist that's worked in the UK press. However, we don't want you getting the wrong impression of Robert. He offers you a cigarette and was even courteous enough to come straight out of his dressing-room, immediately after tonight's show, to greet fans. Just because his intelligence and charisma comes across to feeble-minded hacks as a form of strangeness doesn't mean he's like this. He's exciting company, often hilarious and polite. This is why it's hard to picture him being the member of an all-out heavy punk act.
The location of today's interview is the Oxford Zodiac, a student-friendly, weird-shaped venue that wouldn't take more than 500 people at a squeeze. Last night, the Scottish quartet played a Bristol show that was rescheduled after they cancelled to perform on 'Later with Jools Holland'. This show, being a month after their sell-out UK tour, was then sitting only by itself on a weekend and the band decided to add tonight's gig to finish off their set of GB dates until they return to perform in the festivals. However, the first time rockfeedback had witnessed Idlewild was back in 1998, during the recording-sessions for their first album 'Hope Is Important'. They were warming up for Blur on a couple of low-key dates that Damon and co. were doing before their mud slinging, headlining slot at the Glastonbury Festival. We were suitably impressed. They had a unique and tight, though somehow loose, way of knotting catchy tunes together. Combined with a live act that was as painful to watch as it was to perform (especially during the teeth scraping guitar techniques), it's understandable why Bob seems to remember touring with Blur in a warm nostalgia during those shows.
'I've got a lot of respect for Blur, I like them a lot. The main reason why I admire them so much is because they've been about for about eleven years and they've made about six albums, but every record they've made sounds completely different to every other record they've done. That's why, after eleven years, they're still one of the biggest bands in the world! It's totally admirable what they've done and it's very rare that things like that happen. I don't really want to piss on anyone's pie by slagging off other specific bands that have been around for ages, but the reason so many get dropped is because their albums sound like the last one they did and the one they did before that. Blur have lost a lot of fans by constantly changing, but they gain twice as many than they lose each time.'
Bob may be label-mates with Blur (Parlophone), but he speaks genuinely and with extreme respect as if what they've done, in terms of belittling people's expectations, is exactly where he wants to see Idlewild going in about six years. This may be said after hearing their current album, '100 Broken Windows': rocky, yet melodic with tunes far more complex than those from previous releases. Bearing in mind 1998's 'Hope is Important' was virtually a righteous, riotous punk celebration, you can see how some of their fans are slightly more apprehensive of the newer material. Maybe Bob's admiration of Blur is a reflection of how he understands what it's like when some critics and fans seem divided by their decision to progress on to new sounds.
How have the fans taken to the new album?
'Most of them are well into it, the vast majority certainly are... I mean, it got to 15 in the charts which speaks for itself. There has been a lot of the kids that go, 'Oh, we don't like change,' but we've supported bands that are now just playing the same stuff to the same people in the same tiny venues and they never get anywhere because they never progress. It's sometimes like you bring an acoustic guitar and a keyboard onstage and people just look on with disgust! 'They're not punk rock anymore,' they say and I'm just there wanting to make a living out of this! Excuse me for looking like a corporate c**t, but I'm kind of into the idea of eating well, know-what-I-mean?'
Incidentally, what do you think of the chart positions you've been getting?
'We really try not to think about it, it's really something we're not interested in. The thing about positions is they don't necessarily reflect sales. For instance, one of the first number ones of the millennium was 'Masses against the Classes' (by the Manic Street Preachers) and that was just a limited edition, but it went straight to the top of the charts; it only depends on what's out at the time. We got to number 19 with 'When I Argue (I See Shapes)' and 'Little Discourage' went to 24 or something, but that sold twice as many copies!'
However, as great as the records are by Idlewild and even if they do get enviable chart-positions, there's no doubt about it that their power lies within their live performance. Touring indie acts, certainly UK ones anyway, are like the circuses of 2000 - there are either poorly produced efforts that don't have any animals and have a more scary than amusing clown or there are extravaganzas. These are well made and a dead cert. for quality entertainment every time you visit them. Idlewild fall into the second category. Never receiving lukewarm reactions for their gigs, the Highlands foursome give their all in live shows with blood, sweat and excessive amounts of booze not being out of the picture during their tours - and that's just the audience that goes to see them.
How do your modern shows compare to your older performances?
'I don't remember a great deal! The funny thing with gigs is, whether I'm drunk or not, I can never remember where they are or who I did them with; they just blur past me. However, I do remember our early performances being really good. Live shows now probably aren't quite as mental visually and Roddy doesn't roll about the floor as much as he did and he can pretty much go a whole gig keeping both his shoes on! But, I do think he is a much more mesmerising frontman now and it is actually scary to watch him standing stark still, which is even more off-putting than when he was jumping about! He has got a kind of intense presence and particularly when he's just got this fixed stare on nothing you can't help wondering what's going on in his head. 'Basically, the songs are played a lot better now, well, they f**king should be after all this time! We're a lot tighter; we don't drink as much as we used to. Having another guitarist (for touring) we're a lot heavier and we're a lot more exact in our playing. We aren't quite as mental, jumping-about wise, but everything sounds so much better that it makes up for it. But, it still rocks like a f**king bastard!'
He's damn right about that. From the ear-piercing set-intro of 'Little Discourage' to the immediate opening of their most manic single 'A Film For The Future', the 'Wild certainly don't play Idle, giving all they've got to an audience that responds likewise. However, there are tender moments, specifically during the incredible, though simple 'Safe & Sound' where Roddy croons amongst Colin's slow drumming and Rod's soft guitar, which doesn't sound as threatening. But, as it all draws to a close at the feedback closure of 'Everyone Says You're So Fragile', punters that were promised a 90-minute set are happy to walk off after an hour of sixteen tracks, old and new. Explosive.
What tracks are currently best to play in your live sets?
'Well, obviously the new stuff is more fun to play, because it's new. There are certain songs I'm bored stiff of. I could happily never play 'Satan Polaroid' ever again, but it's just because it's an old song. A lot of the older stuff that we've got bored of, we just rework them, like 'Satan Polaroid', but we've also totally changed 'Captain' and it's become the kind of new 'You Just Have to be Who You Are' (classic Idlewild crowd-favourite). We try to keep things interesting for ourselves in the old songs, but ideally, we're here promoting the new record and certain new songs just give me a massive buzz when I'm playing them.'
At this point, Bob's girlfriend comes along, sits down with us for a few minutes and disappears off back into the venue. One thing that's notable about the band's live dates is where some of them are played and, as recent tours have shown, some are played in really damn weird places, though only around Scotland. Previous places? Well, there was the Orkney's, the Isle of the Skye and next...
'Well, next year we're going to try and do the Shetlands. No, I'm not taking the piss, we really are! We got the idea from Pulp who did it about four years ago and we know a couple of people that work with Pulp that thought it went great. These places are cool because, for a start, they're beautiful and also these people that live there don't get to see bands. A lot of the people we play to there are in their mid-thirties and they've never been to a concert in their lives! It seems unfair to alienate people just because where they live, as they can't get the culture other folk can. Playing these gigs gives us the opportunity to play to places that need and want it, because they do buy records, but it might mean they just have to travel about 60 miles to a major town to get anything!'
However, Bob then reveals,
'Also, it's an excuse for us to just go and play these places!'
Is it a Scottish thing because, let's face it, we can't see Idlewild playing on the Isle of Sheppey can we?
'Well, yeah, it is a Scottish thing. Roddy recently went to try and buy a house in these obscure places, because he just loves them. It's good for us and for the punters to play there, you know?'
Fair dues; in an era where just wanting to play places that you come from and celebrate its culture gets you called a racist, maybe it's time that bands from the further reaches of the British Isles try and celebrate areas that rarely get the attention. In a time when sometimes where people are from pointlessly overshadows what music they're making, it's important for bands to surprise people and do things that are considered 'different'.
However, one thing's for sure, the way Idlewild are progressing, both in music and live performance, it won't be long until not just the British Isles is calling their name.
Artists in this article: Idlewild