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While the New York band’s sonic world comprises an input of many varied influences (Joy Division, The Chameleons, Depeche Mode, The Cure and U2 to name but a few), the output is something altogether different, a highly original fusion of passion and industry, taut and edgy but not without meaningful impact.
Strolling on stage at 9:15pm, the five-piece were received warmly by the impressively mixed audience that packed the Guild of Students; while not the most prominent or flashy of venues, the evening was proof that it’s the basics that secure a good gig: a big space and a decent set of speakers. Indeed, it was the sound system that triumphed on this night, drenching the cavernous hall in Interpol’s glorious brand of noise, allowing every detailed twist and turn of guitars, bass and drums to be heard. Only Paul Banks’ vocals suffered on occasions, sometimes lacking clarity atop the overload of band noise.
Blazing first through ‘Success’, opener to this year’s self-titled album, the group went on to present a well calculated setlist spanning their eight-year recorded career. While well-deserved emphasis was placed on the new release (slow burner ‘Lights’ functioned far better in a live setting, and lead-single ‘Barricade’ proved scintillating), this was an event intended for the seasoned fan, with a total of eleven tracks taken from 2002 debut Turn On The Bright Lights and 2004’s iconic follow-up Antics.
Concerns that the recent departure of bassist Carlos Dengler might have irreparably damaged the dynamic of the band were soon rendered void, a clear unspoken chemistry emerging between the musicians. While Banks kept banter to a bare minimum, the musical cohesion among the band members spoke volumes, Sam Fogarino’s drumming acting as a highly individual rhythmic glue for Daniel Kessler’s trademark guitar lines.
The up-tempo set was punctuated by slower moments of intimacy, ‘The New’ and ‘Memory Serves’ offering pauses for breath while encore-opener and obvious crowd-favourite ‘NYC’ held a particular poignancy. Closing with Antics double-barrel ‘Evil’ and ‘Not Even Jail’, the sense in the room was that Interpol had not only enthralled their die-hard followers but had convinced countless others of their validity as one of the truly great acts of the decade; while many great recording bands turn out to be a different kettle of fish at their live shows, here is a group that not only cement their preceding reputation but enhance it on the stage.
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