Idlewild were the "next big thing" of the month for a few weeks in 1998, but, in reality, were professional epigons of R.E.M. The band, formed in Scotland by guitarist Rob Jones and singer Roddy Woomble, debuted with the usual sequence of singles, and EPs: Queen Of The Troubled Teens (1997), Chandelier (Fierce Panda, 1997), the mini-album Captain (Deceptive, 1997), A Film For The Future (Capitol, 1998), Everyone Says You're So Fragile, I'm The Message. To the British press it was yet another "next big thing", but to everybody else they were simply teenagers with an Husker Du fixation, and their melodic hardcore was not all that original, although occasionally it was indeed brilliant.

Hope Is Important (Capitol, 1999), that packed 12 songs in just under 36 minutes, was not a revelation, and certainly not a revolution, but it did feature a punk-pop gem like When I Argue I See Shapes and a few captivating ditties (You'Ve Lost Your Way, You Don't Have The Heart, I'm Happy To Be Here Tonight, Paint Nothing).

The singles Little Discourage (1999), one of their catchiest songs, and Actually It's Darkness (2000) proved that it had been no accident, and at least three songs on the album 100 Broken Windows (Food, 2000), These Wooden Ideas, Roseability and I Don't Have The Map, confirmed their talent.

The Remote Part (EMI, 2002) continues Idlewild's slide into pop territory, via gracefully orchestrated teenage ballads (the U2-like anthem American English, Tell Me Ten Words, I Never Wanted) effervescent rock'n'roll (You Held The World In Your Arms, A Modern Way of Letting Go, I Am What I Am Not). The album is simultaneously their loudest and their most melodic, i.e. their Monster (cfr, R.E.M.). Their R.E.M. obsession is a mixed blessing in Century After Century and Live in a Hiding Place, but comes as a relief from the melodic overload.

Warnings Promises (EMI, 2005) is a sterile recapitulation of their cliches. Its songs are predictable (each one echoing a song from a previous album), the melodies are trivial, the playing and the production are amateurish. The lone positive aspect is the casual mastery of Roddy Woomble's delivery, who is obviously ready for a more ambitious career.

Make Another World (Sequel, 2007) marked a further decline in inspiration. The best song, No EMotion, seemed to cather to the disco crowd.

Post Electric Blues (2010) sounded like a tired imitation of Idlewild's classic sound.