Lights, camera, Interpol
Interpol casts dark shadow on Davis
On the surface, it would be easy to dismiss Interpol as more style than substance. The band’s image has been on the cover of Spin and has even crept into the pages of hipster women’s magazine Jane. Essentially, Interpol may be better associated with Calvin Klein and Cesare Paciotti suits than, say, Gibson guitars and Fender basses.
However, the band’s music is as immaculate as the thin silk ties around their necks. With two superb albums under their belts, Interpol has also created a following with its melancholy, sometimes danceable music that would have been just as popular 20 years ago.
And the members didn’t disappoint as they strode on to the stage at Freeborn Hall looking like they had just arrived from a GQ photo shoot—gaunt, smartly dressed and elegantly smoking fags.
Singer/guitarist Paul Banks dispensed with any pleasantries throughout the evening as the band, which includes guitarist Daniel Kessler, bassist Carlos Dengler (or just Carlos D.) and drummer Sam Fogarino, charged through a long set plus an encore.
It wasn’t until “Say Hello to the Angels” about five songs in, that the band dipped into material from its 2001 debut Turn on the Bright Lights. The song also represented the first noticeable change in tempo, as the overall set lumbered under Banks’ monotone vocals. But it didn’t seem to bog the audience members down, some of whom were also dressed to the nines.
It was obvious that Interpol strives for mood, not bombast. The members appeared mostly as shadowy figures until blinding strobe-lights exposed their emotionless faces. Technically they are fantastic musicians, seamlessly playing through songs like “Public Pervert” and “Stella was a Diver and She Was Always Down.” But Interpol’s music would probably better serve two lovers with a bottle of Chianti than an auditorium full of people.