On August 1st, Bristol’s Queen Square became the epicentre of something far greater than a gig. It was a homecoming, a protest, a celebration — a thunderous affirmation of community, freedom, and punk rock at its most vital. With 15,000 fans packed into the historic square, IDLES returned to their roots for the biggest show of their career, flanked by two incendiary support acts and a crowd that felt like family.
Formed in Bristol in 2009, IDLES emerged from the city’s underground scene with a slow-burning intensity. Their debut album Brutalism (2017) was raw and uncompromising, but it was Joy as an Act of Resistance (2018) that truly launched them into the stratosphere — a furious, compassionate manifesto that tackled toxic masculinity, nationalism, and grief with blistering honesty. Since then, they’ve become one of the UK’s most important live acts, known for cathartic shows that blur the line between chaos and communion.
This wasn’t just another tour stop. This was a return to the soil that shaped them.
As the sun drenched King Street, the AF Gang — IDLES’ devoted fan community — arrived in force, proudly sporting every era of band merch. The day kicked off with a powerful moment: IDLES guitarist Mark Bowen led all three acts on stage to raise awareness for medical aid in Palestine, urging fans to “USE YOUR VOICE” in bold defiance of recent protest bans. A QR code for donations lit up the screen. It was a rallying cry, not just a gig.
Then came Lambrini Girls — a Brighton-based punk trio who wasted no time in igniting the crowd. Their opener “Big Dick Energy” was a sonic punch to the gut, and from there, it was all flailing limbs and righteous fury. Tracks like “God’s Country” and “Cuntology 101” were unapologetic, anti-fascist, anti-monarchy anthems delivered with wit and venom. Singer Phoebe Lunny split the crowd, dove into the pit, and left a trail of dust and sweat in her wake. Bristol was ready — and Lambrini Girls were made for this stage.
Next up, Soft Play (formerly Slaves) took the baton and sprinted with it. “All Things Bright and Beautiful” blared as Isaac Holman and Laurie Vincent exploded onto the stage. Holman — drumming, singing, and sprinting like a man possessed — turned “Mirror Muscles” into a workout and a war cry. “Sockets” rattled brains, while “Punk’s Dead” transformed controversy into comedy, with the crowd gleefully screaming “I don’t like change!”
Mid-set, Holman flipped into the crowd during “Girl Fight,” inviting women to take over the mosh pit. Vincent’s guitar shimmered in the sun as he performed the splits, and the duo reminisced about playing to empty rooms in Bristol’s Mothers’ Ruin. “Everything and Nothing” became a tear-stained tribute to lost friends, mandolin and screams colliding in a moment of raw beauty. They closed with “The Hunter,” as chants of “Free Palestine” echoed across the square.
Then came the main event. IDLES took the stage to a hero’s welcome, opening with “Colossus” — a slow build that detonated into pure chaos. Joe Talbot, all smiles and gratitude, screamed “Go! Go! Go!” and the crowd was already gone, moshing before the first note dropped.
This was no ordinary show. It was an angry party, a joyful riot. Locals mixed with fans who’d flown in from across the globe, all united in sweat and song. “Gift Horse” turned Queen Square into a jumping pit, while “War” was beautiful, thunderous mayhem — drummer Jon Beavis deserving a medal for sheer stamina.
Bowen and Kiernan dove into the crowd, creating a gig within a gig for lucky fans, while chants of “Free Palestine” filled the air in a moment of quiet solidarity. Talbot was reflective, thanking fans for sticking with him through darker times and honouring Bristol’s music community for lifting him up.
Then came the magic. A young fan named Aiden held up a sign: “Can I play Rottweiler?” Talbot spotted it, invited him on stage, and Aiden delivered — shredding guitar with the band in front of thousands. It was a dream made real, a moment that summed up everything IDLES stand for: inclusion, empowerment, and pure punk joy.
IDLES gave everything. Their biggest homecoming show was a masterclass in how music can unite, provoke, and heal. From Lambrini Girls’ defiant roar to Soft Play’s sweaty brilliance, and IDLES’ soul-baring performance, Queen Square became a sanctuary of sound, sweat, and solidarity.
Tonight was a beast, and Bristol was its beating heart.
