Post-punk revival rockers take over Rialto


Evoking the dark imagery and somber tones of late ‘70s, early ‘80s alternative British rock bands like The Smiths and Joy Division, New York City-based Interpol hit airwaves hard in the mid-2000s. After earning their indie-album cred with cult hit ""Turn On the Bright Lights"" in 2001, their endlessly catchier 2004 release ""Antics"" paved their way to stardom.



Interpol played a show in Tucson on April 17, and those lucky enough to attend enjoyed the soul-soothing experience of a near-critical-overload of bass guitar, typical of their sound: tricky guitar arrangements lilting over confident, hard-hitting bass. Front man Paul Bank's somber siren song rounded out the sound, delivering terse lyrics like haunting poetry.

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Interpol's set was a seamless medley of polished performances: a typical selection from their new, self-titled album, a mix of fan favorites and a few wildcards.



Drummer Sam Fogarino showed his chops on second-album single ""Evil;"" fans air-drummed along with frightening precision to the mid-tempo ballad's cymbal-heavy bridge. Likewise, guitarist Daniel Kessler stole the stoplight with his boogie-happy performances, adding sway equally to his guitar and hips through a particularly high-energy performance of fan favorite ""Say Hello to the Angels.""



The dedicated audience that stayed after the bow-out was treated to an impressive five-song encore. The roar of the of the post-hipsters as the band again the stage rivaled that of the time they heard a new Buffalo Exchange was opening up downtown.



While attendees were impressed by Interpol's performance, they were equally impressed by the performance of one particularly lanky young man with amazing footwork. Just seconds after the end of a lighter-in-hand-prompting performance of ""Not Even Jail,"" a fan leapt from the front row to the top of the stage in one bound, sneaking up behind Paul Banks before planting a kiss on his lips. Security guards were not pleased, but the crowd was ecstatic.



Ultimately, the show was a worthy treat for any Interpol fan or musical enthusiast of bass-driven sad rock. Between the setting of gloomy fog, multi-colored stage lights and a Rialto full of die-hard fans, it was hard not to have a good time.



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