There’s something slightly surreal about watching Interpol perform their sophomore album Antics in full, twenty years after its release. Maybe it’s the fact that we’re old enough to remember ripping it from CD to burn it to our mini disc player, or perhaps it’s because The Halls in Wolverhampton feels like an oddly intimate venue for a band that once supported U2 on a stadium tour. Either way, we’re here, feeling both ancient and excited as Paul Banks and Daniel Kessler take the stage (drummer Sam Fogarino absent as he recovers from spinal surgery), looking irritatingly well-preserved in their trademark black attire, even from behind a white curtain that adds a touch of theatrics to tonight’s show with the bands silhouettes towering over the crowd, larger than life before it drops to the floor to give the crowd their first unobstructed glimpse of the NYC duo.
The Halls themselves add their own layer of gravitas to the evening. Recently reopened after a lengthy multi-million pound renovation, it’s a Grade II listed building with a Grade II worthy list of legendary acts in its past. Standing in a room where The Who once shook the walls in 1969 and where Nirvana debuted All Apologies (albeit in the adjacent Wulfrun Hall), the 3,000-ish-capacity space balances modernity and legacy effortlessly, like Paul Banks on a cuban heel.
The first set is Antics in its entirety, and from the opening piano notes of Next Exit, it’s clear why this album deserves its victory lap. The sound is immaculate – Daniel Kessler’s crystalline guitar work cutting through the mix like a perfectly tailored suit through a sea of band t-shirts. Banks‘ voice, often maligned in the early days for its Joy Division-esque qualities, has aged like fine wine, hitting every note of Evil with a precision that makes us question if he has indeed done a deal with the Devil to look and sound this good two decades on.
Narc and Take You on a Cruise see any stragglers in the crowd fully awaken with their nostalgic hits of dopamine, riffs that slingshot you back in time instantly and it’s about now everyone starts remembering, god-damn this album is immense. Enter Slow Hands – arguably their most radio-friendly track – greeted with unanimous enthusiasm as one of the strongest 5-track runs we can recall reaches its euphoric peak.
The album’s deeper cuts shine just as bright as the singles. Public Pervert sounds massive, its understated brooding intensity acting as a sinister prelude to Length to Love, kept apart by another clap-along-classic C’mere. By the time they reach A Time to Be So Small, it’s clear why Antics has stood the test of time – it’s an album without a single weak moment, a rare feat in any era.
After a very brief intermission (barley long enough to do the ol’ knee bend/back stretch), the band returns for a career-spanning second set. Pioneer to the Falls and No I in Threesome represent the Our Love to Admire era beautifully, while the tour debut of If You Really Love Nothing provides a welcome jolt of energy from their more recent work.
The real fireworks come during the home stretch. Obstacle 1 sounds as urgent as it did in 2002, Lights illuminates the room with its slow-burn, and Rest My Chemistry closes the second set on a high.
A surprise encore of Roland leads into the finale of their debut single PDA. How a band had their sound so nailed down on a debut release, we’ll never know. In an era where nostalgia tours can often feel like cynical cash-grabs, this celebration feels earned, necessary, and most importantly, it’s a blast.
So much so that 24 hours later and 80 miles down the road we found ourselves at Manchester’s O2 Apollo the following evening to watch lightning strike twice.
The Antics portion of the show remains as pristine as the night before, the second set, however, takes some interesting detours from Wolverhampton’s setlist. The welcome addition of a particularly muscular version of The Rover and Pace Is the Trick that becomes highlight of the evening means that even though we miss out on If You Really Love Nothing and Lights, we reckon Manchester wins the battle of the second setlists.
While both shows demonstrate why Antics deserves its place in the indie rock canon, the slight setlist variations between nights prove that Interpol aren’t simply going through the motions on this anniversary tour.
Two nights, two cities, two historic venues, one timeless album. If you’re only catching one show on this tour, you can rest assured they’re all golden.
Photo Gallery by Alex Cropper
Go Places Do Things 