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IDLES Chatter With Joe Talbot: How The British Rockers Get Personal, Political & Festival Filthy
IDLES (from left): Joe Talbot, Jon Beavis, Adam Devonshire, Mark Bowen, Lee Kiernan

Photo: Tom Ham

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IDLES Chatter With Joe Talbot: How The British Rockers Get Personal, Political & Festival Filthy

After wrapping up an American tour, IDLES singer Joe Talbot spoke with GRAMMY.com about making progress, understanding the press and why he has Otis Redding tattooed on his arm.

GRAMMYs/Sep 29, 2022 - 02:05 pm

When IDLES began in 2009, singer Joe Talbot recalls that not even their then-manager got the name right. "We were Idols, Ideals, the Idols. We were put on the wrong posters. Everything you can imagine was wrong for about a year and a half."

But the Welsh-born singer and his band bided their time. After forming IDLES with bassist Adam Devonshire in Bristol, England, "We were very patient with people mistreating us, underestimating us, giving us terrible advice, not paying us, slagging us off," Talbot says. "We'll just look at those minor misgivings or micro-aggressions as something that later on we can look back on and really appreciate as what we went through to get to where we are now, which I think is a place of success."

Indeed, IDLES — rounded out by lead guitarist Mark Bowen, rhythm guitarist Lee Kiernan and drummer Jon Beavis — are huge in their native U.K. IDLES  2020 LP Ultra Mono debuted at No. 1 on the UK charts, and No. 1 on Billboard Emerging Artists chart. The Guardian raved, "Like no other British rock band of their generation, IDLES offer a sense of resilient belonging, rendering pain fertile and ugliness majestic."

Possessed of a punk rock energy intensity and sensibility, with unsettling musicality in songs like "The Wheel," IDLES' acerbic songs run from intensely personal (the caretaking and death of Talbot's mother informed Brutalism) to pointed social commentary ("Model Village"). Talbot’s vocals are upfront and Brit-accented, especially vehement on songs like the pointed, toxic masculinity-bashing "Never Fight a Man With a Perm," which has garnered nearly 26 million Spotify streams.

Although the band has done nine U.S. tours, IDLES' popularity in the States lags slightly behind that of the U.K. Yet since the release of their latest LP, 2021’s Crawler, IDLES worship is growing. The noisy songs of controlled chaos are driven by Talbot’s powerful vibe, of which he’s quick to clarify: "People mistake that my energy is anger."

The singer, whose witty, smart and oft-idiosyncratic and iconoclastic approach is seen in some of his tattoos — a chair, Biggie Smalls, Frida Kahlo on his left hand, Bill Murray’s face and the word "pops" on his neck because his dad hates neck tattoos — chatted with GRAMMY.com in the midst of IDLES ’ recent U.S. tour, which wrapped Sept. 17 at New Jersey’s Sea.Hear. Now. festival.  A sold-out tour of New Zealand and Australia kicks off October 27.

IDLES  seem to be in a great place career-wise. You’ve won prizes and been nominated for Brit Award, the Mercury Prize, and more. What quantifies success to you? 

Progress. I think progress to me sounds and looks like the exploration of the self in a way where you're beautifully comfortable and uncomfortable at the same time as an artist. Success is emotional maturity. And success is a loyalty with the people around you and your community or audience.

Loyalty from an audience perspective comes from them trusting you and being genuine, because you love what you do. And we do. We're very grateful that we're able to come back after the pandemic and do this with so many wonderful people with open arms and open minds.

You can't ignore the money side, that would be ignorant and I think kind of bad taste not to accept that. Being able to pay my bills and build a future for my daughter by playing music is a beautiful thing. Emotionally and monetarily, we can't ask for anything more. We're just in a beautiful dream. And we will keep working as hard as we can. As long as you'll allow us in your venues, we will be there.

You actually have a song inspired by an American venue in Ohio, "Beachland Ballroom." IDLES  are known for musical urgency and immediacy but "Beachland Ballroom" is a musical departure.  

I grew up with soul music. I’ve been trying to write a soul song for a long time. Like, I've got Otis Redding tattooed on my arm and it’s something that I love. When we started as a band, I was very angry. But I was also self-pitying, and cyclical with my drug and alcohol addiction and blamed everyone else. That's what happens, you know?

But I love where soul took me, so I'd always try and throw [it] in, but I wasn't ready for it vocally and psychologically. I wasn't ready for soul music and to do it properly…to write beautiful poetry I think you need to be immersed in it, not yourself. That sounds weird, but I wanted to write something beautiful. And that's how it sounded.

Another now-iconic American thing is Coachella, and you played there this year. Was it what you expected?  

It was exactly as I expected, because I've been there as a punter with my [ex] girlfriend. In 2011 we went for a road trip, four weeks around California. We stopped off at Coachella because Kanye West was performing his My Beautiful Dark Twisted Fantasy, which at the time, and is, one of the best albums ever. It was just when selfies had taken off. So there's a lot of people taking selfies, which was very bizarre to me at the time. This is how old I am!

European festivals are very different affairs. We like to get filthy and in the U.K., we expect mud and to not shower for five days. It's very debauched.It feels very good, but it doesn't look great. That's what I love about Glastonbury and Reading and all the festivals that I grew up on: you leave the mirror at the door and you go and you forget and let go and you enjoy the music and you embrace the people around you. And you learn something about what it is to be part of the universe with music and energy. Coachella is just a different kettle of fish. But playing it is amazing.

In 2011, the band had been together a couple years. Did you think 'someday I'll play here?'  

I never had any expectations of playing anywhere. We were f—king terrible.

Well, lots of terrible people play Coachella. 

Yeah, I know. I saw them! No, I didn't [think I’d ever play Coachella] at the time, I was too busy figuring out what we should sound like and how to improve. We were just writing and writing and writing because we knew we weren't there yet. We hadn't found our true voice.

I never knew what to expect from them from the North American market if I'm honest.  A key to our success is that we haven't paid attention to our peers. We've kept our heads down and worked as hard as possible. And I've made sure I'm the hardest-working man in every room I've been in in terms of band and music.

America vs. the U.K. is definitely a thing when it comes to both press and success for a British band.     

I won't speak for American press because I don't know it well enough. And since I've been being interviewed by North American journalists, it's been a period where I stopped reading because it doesn't help.

The thing about the U.K. is a very small island built on an empire that's like a network of problematic ideologies to make other people feel small. If it was a person, it would be a very short pigeon-chested, angry, balding man with pink skin, screaming at the sun. As an island, I think there's a very defensive nature that comes from our class system. It's both built, built on ideology and built on power struggles, and it's built on oppression. But it's all ideological. It's based in finance. But the reason it's sustained is with language and press.

Now with that, no matter what press, what the journalist is writing about, they're part of that. And as soon as you get to a certain place where you're successful — monetarily, popularity, anything like that — they want to squash you because they feel threatened or feel you don't deserve it, because you're not good enough. Because they think they know what good is and you don't.

To follow that, you had some criticism leveled at you in the U.K. about the ideas in the song "Model Village," and I read that you are no longer playing it live.   

I was just offered a new perspective in a quite close-minded article, to be fair, they were wrong. But it made me question it.

They were wrong because the song was misread as what they were pissed off about, that wasn't what I was saying. But I realized, ‘oh, now's not the time to perform this song, because it is divisive, and it is aggressive in its tone.’ And there's a lot of disillusionment in our country based on class. And if people think I'm having a go at the working classes in that song, they're f—king stupid.

But yeah, I stopped that because of an article and I realized, you know, there's a line, I don't want I have to constantly defend a song that I know isn't what it is cut out to be. The only person whose fault that is, is mine. Obviously, my writing wasn't clear enough. And with that comes some real problematic ….

Thank you for clarifying. For me, there's nothing worse than being misconstrued. That said, I appreciate your take on not wanting to add to the burden of a misunderstanding.  

I would never apologize for the song, nor would I delete it from the internet or take it off an album. I just don't want to perform it at the moment. It’s not a forever thing. I just think the conversation around the working classes in our country at the moment is a very disturbing one. And I don't want to add to that fire.

Let’s end with "The End," which ends Crawler. Lyrics include, "…act like a dick in spite of it all life is beautiful." Is that about you?  

Sometimes. I mean, I'm up and down. I can be a real piece of work. And I struggled with addiction, and I've been graced with some beautiful people that helped me in recovery. And yeah, life is recovery now. So once you've got in the deep end, and you've nearly lost everything a few times you realize what's important, and you stay mindful of that and grateful and you just keep working on it.

I'm in a very wonderful place, and I feel very safe. I feel I'm part of something much bigger than myself, which is something I started the band for; I started the band to feel like I'm not alone. And I don't. And that's the only thing I can ask for, as an addict and someone who's got a lot of love to give, is that I feel safe and not alone to give.

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ReImagined: Judy Whitmore Dazzles With A Classic Interpretation Of Frank Sinatra And Count Basie's "The Best Is Yet To Come"
Judy Whitmore

Photo: Courtesy of Judy Whitmore

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ReImagined: Judy Whitmore Dazzles With A Classic Interpretation Of Frank Sinatra And Count Basie's "The Best Is Yet To Come"

Judy Whitmore introduces fans to the music she grew up with in this jazzy full-orchestra performance of "The Best is Yet to Come" — a song that was made famous by Frank Sinatra and Count Basie, and won a GRAMMY thanks to Ella Fitzgerald.

GRAMMYs/Dec 6, 2022 - 06:00 pm

An American standard originally composed in 1959, "The Best is Yet to Come" has been recorded by an array of vocal greats, including Tony Bennett, Michael Bublé, Bob Dylan, and Ella Fitzgerald — the latter of whom won a GRAMMY for her rendition in 1984. But it's most closely associated with Frank Sinatra, who recorded it with jazz pianist Count Basie for their 1964 album, It Might As Well Be Swing. In fact, the song was so important to Sinatra that its titular lyric is carved into his tombstone.

In this episode of ReImagined, vocalist and cabaret-style performer Judy Whitmore delivers a faithful, buoyant rendition of "The Best is Yet to Come." A full orchestra performs behind her, including horns, jazzy drums, a sweeping string section, and a grand piano — creating a swinging performance that does Sinatra proud.

Whitmore's cover choice is no coincidence, as the singer has been inspired by American classics literally since birth — her namesake is legendary actor and musical performer Judy Garland. Like Garland before her, Whitmore has taken on a diverse and multifaceted career. She's a bonafide Renaissance woman, whose resume includes accomplishments as a theater producer, best-selling author and pilot, who also happens to have a Master's degree in clinical psychology.

Singing has been a lifelong passion for Whitmore, and she has several albums to show for it, including 2020's Can't We Be Friends. That project, which includes her spin on standards like "'s Wonderful," "It Had to Be You" and "Love is Here to Stay," is Whitmore's "love letter to The Great American Songbook," her website explains

"This is the music I grew up with, and I don't want people to forget it," she details. "I think it's one of the most extraordinary bodies of work ever created."

Press play on the video above to watch Whitmore bring her love of American classics to her version of "The Best is Yet to Come," and keep checking back to GRAMMY.com for more episodes of ReImagined. 

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5 Takeaways From RM's New Solo Album 'Indigo'
RM performing at the 2022 GRAMMYs.

Photo: Rich Fury/Getty Images for The Recording Academy

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5 Takeaways From RM's New Solo Album 'Indigo'

BTS leader RM makes his official solo debut with his first studio album, 'Indigo,' which showcases a new level of artistry from the rapper.

GRAMMYs/Dec 5, 2022 - 08:03 pm

Like many of his BTS cohorts, RM has shown off his solo musical talents long before this year. His first mixtape RM came out in 2015, capturing the rapper's raw hip-hop roots. His second mixtape Mono was released to critical acclaim in 2018, when BTS were just scratching the surface of their worldwide domination. But this year took RM's solo efforts to the next level with his first-ever studio album, Indigo. 

Across 10 tracks, RM's official solo debut documents the multilingual rapper, producer and singer/songwriter's journey through his twenties. Meshing Korean and English, his reflections about life under the public eye weave through genres and moods organically. And with diverse collaborations — from R&B legend Erykah Badu to fellow South Korean star parkjiyoon — to boot, RM uses Indigo to bring fans deeper into his expansive musical universe.

Now that the highly anticipated project has finally arrived, take a look at five key takeaways from RM's debut studio album, Indigo.

It's Connected To The Art He Loves

RM is known for being a lover of nature and fine art, and that is reflected within Indigo. Promotional photos for the album featured Yun Hyong-Keun's painting "Blue"; RM is known to be a supporter of the late South Korean artist, so the rapper's inclusion of the work shows the intentionality behind his debut — musically and beyond. 

He isn't afraid to mesh artistic mediums, and the sonic and stylistic choices made reflect this. From then sampling Korean Hyong-Keun's reflection on Plato's humanity in the opening track "Yun" to even titling a song "Still Life," the inspiration is present. RM may have refined taste, but he makes it easily digestible through his music.

It's A Reflection Of His Life Up To Now

According to RM himself, Indigo serves as a diary of the last three years of his life. Even so, the album's messages can be a blueprint for anyone going through a transitional period in life, thanks to RM's honest, open-minded and unfiltered lyrics. 

On "Lonely," he candidly exudes his frustrations over a tropical beat. "I'm f—king lonely/ I'm alone on this island," he raps. He later sings, "So many memories are on the floor/ And now I hate the cities I don't belong/ Just wanna go back home." 

The contrast between the song's upbeat melody and longing lyrics provide a dichotomy that perfectly captures the highs and lows of fame. That's a theme that carries throughout the album, further showcasing why RM has become so admired by his fans and peers alike.

The Features Tell A Lot About His Artistry

Eight of the 10 tracks on Indigo are collaborations, all of which display RM's love of diverse genres and musical eras. They also reflect the caliber of artistry RM has reached — he got Erykah Badu! — as well as his ability to bridge the gap across borders. Along with Badu, he teamed up with two other R&B stars, Anderson .Paak and Mahalia, along with several Korean artists: Paul Blanco, Tablo, Kim Sawol, Colde, youjeen, and parkjiyoon. 

There's A Song For Everyone

Many praise RM for his ability to touch people with his leadership qualities and words, and this album may just be the strongest example of that. The project is noticeably more upbeat than Mono, but RM still takes time to break his emotions down lyrically. 

His first verse on the opening track "Yun" declares "F-k the trendsetter, I'ma turn back the time," setting the tone for how RM feels artistically. Then, the high-energy track "Still Life" with Anderson .Paak expresses joy and resilience, proving that one can still stand tall despite difficulty. As he says to .Paak on the track, "S— happens in life, but what happens is what happens."  

Overall, Indigo shows off RM's versatility in a much more impactful way than his previous mixtapes. This album is about the art of music, not breaking records or following trends. It feels like an exploratory culmination of various emotions, moods, and experiences, which helps each track feel relatable in a different way. 

There's A Lot To Look Forward To

RM displayed an immense maturity in his artistic expression through Indigo. He explores emotions both good and bad, but what remains throughout the entire project is a lingering feeling of hope for a better future. 

RM has always been a symbol of hope and grace as he has served as the spokesperson for his fellow members, both musically and in the public eye. But now, RM is getting to express himself for himself — and if Indigo is any indication, this is just the beginning of his journey inspiring the masses as a soloist.

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Herbal Tea & White Sofas: Juls' Must-Have Tour Item Is An African Instrument That Doubles As A Stress Reliever
Juls

Photo: Mahaneela Choudhury-Reid

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Herbal Tea & White Sofas: Juls' Must-Have Tour Item Is An African Instrument That Doubles As A Stress Reliever

The producer and DJ introduces fans to his kosh kash — a pocket-sized, egg-shaped instrument that is so versatile, he carries it with him everywhere when he's on the road.

GRAMMYs/Dec 5, 2022 - 06:59 pm

Juls — also known as Juls Baby, and born Julian Nicco-Annan — is perhaps known best for his work as a producer, helping create hits for acts like Burna Boy, Mr. Eazi and GoldLink. But the Ghanian-British producer and DJ is also a touring act who plays sets around the world — and he makes sure he has his trusty kosh kash with him.

In this episode of Herbal Tea & White Sofas, Juls introduces viewers to the egg-shaped African percussion instrument, which is also known as a Kashaka. The pocket-sized instrument is made up of two small gourds bound together by a string, and makes a rhythmic, rattling noise when shaken. It serves a lot of purposes, Juls explains.

"It's kind of like a shaker. It's kind of like a stress reliever when I'm preparing tours. It also helps me to make music," he says. "So any time I have an idea, I just record it on my phone in Voice Memos. I carry this everywhere I go when I travel."

Another mainstay of Juls' tour rider is "one of the best drinks in the world: Supermalt," the artist continues. "It's like a malt drink, made of wheat, with other things like added sugar and starch."

The non-alcoholic and caffeine-free malt beverage first originated in the early 1970s and served as a cheap energy source for the Nigerian Army. To this day, it's still an Afro-Caribbean staple — and now, a road necessity for Juls. "Definitely need to have that on the rider," he adds.

Press play on the video above to learn more about Juls' road essentials — plus how he prepares for his shows every night — and keep checking back to GRAMMY.com for more new episodes of Herbal Tea & White Sofas. 

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Positive Vibes Only: NewSpring Worship Share A Sweeping Message Of Faith With "Desde El Principio"
Charlee Buitrago of NewSpring Worship

Photo: Josh Chapmon

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Positive Vibes Only: NewSpring Worship Share A Sweeping Message Of Faith With "Desde El Principio"

Led by Venezuela-born vocalist Charlee Buitrago, NewSpring Worship shares their message of hope, faith and community in this sparkling live performance of "Desde El Principio."

GRAMMYs/Dec 4, 2022 - 06:10 pm

Since its inception more than two decades ago, NewSpring Worship has grown into a multicultural, multigenerational, musical expression of faith. Their name is a tribute to their beloved home base, the NewSpring Church, which has 14 different locations across South Carolina.

In this episode of Positive Vibes Only, NewSpring Worship deliver a soaring performance of their song, "Desde El Principio." Helmed by vocalist Charlee Buitrago — who also co-wrote the track — the bandmates take viewers through a simple, but powerful, rendition of the song. 

The clip begins with Buitrago singing in front of a simple white backdrop, and as the first verse progresses, the camera pans back to reveal two more musicians — one strumming an acoustic guitar, the other on the bench of a Rhodes electric piano.

With just those three artists in the frame, NewSpring Worship deliver a moving rendition of their song, which represents the faith collective's passion for putting out worship music that represents their own cultural diversity.

According to his website, Buitrago originally hails from Venezuela, but emigrated to the U.S. at age 17 after meeting an American missionary who helped him find his faith. Since then, Buitrago has continued to pursue both music and worship, with both himself and his native Spanish language becoming mainstays in the NewSpring Worship collective. 

Press play on the video above to watch this performance of "Desde El Principio," and keep checking back to GRAMMY.com for more new episodes of Positive Vibes Only.

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