February 25, 2005


With most of their set done Friday night at Twiropa, Interpol lurched into "NYC," a song off of their debut album, 2002's "Turn Off The Bright Lights." Two halves of disco balls lit
up either side of the stage while the band played the song's final refrain. At this moment, with lights and beautiful tones swirling, everything felt right in the world. Interpol's performance was one of the more stunningly austere performances I have witnessed.

The crowd screamed for every song and sang along with Paul Banks' every word. I got the
sense this show was the last one I was gonna witness before Interpol gets really big.

Interpol was on the road for all but about five days since the release of "Bright Lights," and
their experience was evident in their show. Their energy was hyped in the right places, and their calms were quiet and beautiful. The set was
played with a serious passion that betrayed their hipper-than-thou demeanor. The cathartic chorus of "Slow Hands" was almost violent.

I'm writing this at five o'clock the day after the
show, and I'm having trouble listening to anyone else.

Besides extending the endings of "Not Even Jail" and "Roland," the group stuck to the album versions of their songs, a tactic which could have hurt a band that didn't know their own material well enough(I'm looking at you, Strokes). Interpol made the songs interesting, but they didn't change a single note or intonation.

The tension in the room built throughout the set, and it culminated in "Roland." From the moment Banks screamed the opening line until he and guitarist Daniel Kessler ended the set with a feedback jam, the entire room jumped.

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