Out 3rd October 2025 

Ten albums in, rousing Scottish rockers take stock. Sam Lambeth reviews.

There’s definitely something in the water – or, to be stereotypical, Irn Bru – in the musical valleys of Scotland. Principally, many acts seem to evolve from punky squalls to melodic majesty. Teenage Fanclub were one of the first purveyors of said shift, while Biffy Clyro and The Xcerts would qualify as more recent inductees. 

In between those eras, a strong case can be made for Idlewild. The Edinburgh natives began life as Fugazi heir apparents before ditching their febrile, youthful brio for something more thoughtful and soul-stirring. Around the turn of the century, Roddy Woomble’s burr soothed and coalesced with Rod Jones’ sterling guitar work – sometimes throbbing, sometimes crunchy, always melodic – to create a sweet spot between R.E.M. and Neil Young. It’s clear that this era is one they look back on fondly, for on album number ten – tellingly self-titled – they revisit it extensively. 

Idlewild’s stall is set out early with Stay Out Of Place, a thunderous cacophony of pounding drums and portentous guitar stabs that bursts into a typically big-hearted, emotive chorus. It’s essentially what you’d expect would happen if you asked AI to generate a typical Idlewild song, but what could have been a weary retread instead sounds fresh, assured and confident. 

Jones’ guitar snarl is all over the jagged Make It Happen, another trademark Idlewild song replete with snappy delivery, punk-tinged dissonance and a simple but engaging chorus. They plunder the widescreen majesty of 2002’s The Remote Part on the wistful rush of standout Writers of the Present Time, while soaring piano-led ballad It’s Not the First Time recalls the polished beauty of classic single American English. 

I Wish I Wrote It Down and (I Can’t Help) Back Then You Found Me revisit the earnest jangle of their 2005 album Warnings/Promises, where Woomble and the gang’s love of Stipe, Buck, Mills and Berry really came to the fore.

The good news is for all the nods to the past, there are also moments that show the kind of ambition and progression that their last album, Interview Music, possessed. The Mirror Still is glacial and understated, powered by a minimal but striking bass line and plenty of background atmospherics. Similarly, Permanent Colours carries a gothic synth pop energy.

As Woomble stated in Idlewild’s press release, they “contain multitudes”, with many of them explored here. Creating an album under the modus operandi of playing to your strengths could have been a hackneyed case of diminishing returns. Instead, it’s a fresh and purposeful reminder of Idlewild’s unique blend of joyous, uplifting melodies and clever, caustic musicianship.

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Idlewild are on Facebook and Twitter.

All words by Sam Lambeth. Sam is a journalist and musician. More of his work for Louder Than War is available on his archive. You can find his music on Spotify.