New York’s indie heroes Interpol bring effortless cool to London’s Somerset House-Rory McKeown-Entertainment – Metro

Interpol’s show at London’s Somerset House will live long in the memory (Picture: Shutterstock/Getty Images/Rex Features)

It’s hard to believe it’s been 21 years since New York’s finest Interpol released their seminal debut Turn On The Bright Lights – a record that perfectly encapsulated the uncertainty and sombre atmosphere of a city reeling from the trauma of 9/11.

Regarded as a classic by critics and fans alike, it sent Paul Banks, Daniel Kessler, Carlos Dengler and Sam Fogarino stratospheric, moving them away from the dingy haunts where they honed their claustrophobic post-punk sound to grand stages in front of thousands.

And fast forward to 2023 with seven full-length albums under their collective belts (minus Carlos who left in 2010), Banks and co are truly at the peak of their powers as they step out to the Somerset House crowd.

Promising Hebden Bridge Speedy Wunderground signees The Lounge Society whipped set the tone for the evening’s proceedings with their brand of frenzied punk before Interpol were greeted with rapturous applause.

Interpol have always been fashionistas – and tonight was no exception. In fitting with the grandiose setting on the River Thames.

Banks donned seriously impressive shades with his slick-backed hair, complimented by a black leather jacket and white boots.Kessler’s suave suit and tie offering has become something of a trademark as he sticks to the band’s suited and booted roots.

Interpol’s Paul Banks keeping it cool – as always (Picture: Chiaki Nozu/WireImage)

There’s no waiting around as they launch into piano-driven opener Toni, from their most recent album The Other Side of Make Believe, before rolling into the frenetic crowd favourite Obstacle 1 from debut Turn on the Bright Lights.

Crowd interaction is at a minimum, and that’s no bad thing. Interpol let the music do the talking.

Antics cuts Evil and C’mere prove to be early highlights and it was refreshing to see tracks from their third album Our Love To Admire get an outing, especially the brooding delight of Pioneer to the Falls – wonderfully accompanied by mirror-ball effect lighting during the cascading guitar breakdown.

Daniel Kessler takes to the keys during the show’s opening song Toni (Picture: Chiaki Nozu/WireImage)

The four-piece are fully in their stride when they unleash three-way Turn on the Bright Lights medley of the dark and pulsating Roland, the stirring album closer Leif Eriksen, and the anthemic PDA towards the end of the set.

Arguably the most welcome surprise of the night was the encore performance of Lights from their often overlooked 2010 self-titled album. It’s evolved into a force of nature as the simmering tension explodes into dizzying coda which sees Kessler devouring the feedback as he thrusts his Epiphone Casino into the amps.

There were a couple of omissions like Stella Was A Diver and She Was Always Down and Next Exit but there’s no denying this was a show that will live long in the memory.

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