Just knowing that Idles was coming to Bilbao, we made the plan and took the tickets immediately. It took place on 14 October 2021. The concert would have been almost four months later, in the Santana room 27 of Bilbao, for 25.7 euros each entry and we have already flown our teeth. A month later, the Bristol group released their Crawler album.

The days, weeks and months have passed at full speed, we have told each other that we are waiting for the queue to access the polygon nightclub where the Bolueta station is past. Aesthetics is identifiable by most locals and, fortunately or unfortunately, among the young people of modern appearance we are not so out of place.

On the way to Bilbao I have listened with curiosity to other groups that will start the darkness. Witch Fever from Manchester and Bambara from New York, some of those who are helping on this Idles tour. They have already passed through Berlin, Brussels, Paris, Lyon, Milan and Toulouse, and are ahead of Barcelona, Madrid and Lisbon. Witch Fever has been a good prey, dark and heavy (not boring) whose concert has shown strength and rage from the first chord. A good start for a night with a spectacular look. It is short, less than half an hour of start and end. It has given us little time to finish the reed (the reed) paid for four euros.

It was Bambara's turn, we got bored to death, we didn't know them and we haven't been told anything new. As if they had played a single song throughout the concert, their set has taken a bit of height towards the end, but it's over there. In the meantime, the room has been filled.

We have gone to the bar, to see if the beer is cheaper in the bottle than in the glass and we have come back with disappointment, with a Heineken paid in hand for four euros. We've got a lot in front and in the middle, and a friend has told us that we're in the field of pogos.

They start the concert with the giant Colossus, and before the second song, singer Joe Talbot splits the spectators into two, as a prophet, and when they meet again, they release the desire of people to dance and move inside, when there was peace of mind.

Most of the songs, and especially the screamed choruses, have been eagerly followed, and the musicians also seemed to be satisfied in the table. It's been an hour and a half cathartic, it couldn't be otherwise. Idles' concerts, like the songs, marry well with the desire to survive in the apathy of our time, with rage and with love. But that anger and that love, or that unity that they sing to him, and the conditions in which that revolution takes place that starts from self, there's limp.