interpol + THE maccabees

The others are more sultry and withdrawn, apart from Felix White who is as animated as a baby cocker spaniel. They are effortless in creating heartthrob pandemonium – and have the charisma of Indie James Bonds. From the fluttering lullaby ‘Toothpaste Kisses’ to the strapping bass and fierce guitars of ‘First Love’, the band couple both frantic with focused melodies, and finish up with the quirky ‘Lego’. After harnessing a volcano of emotions, I attempt to compose myself. Interpol emerge to ‘Pioneer to the Falls’, all black, sullen and calm. ‘Slow Hands’ sees the chaos of the mosh pit explode into a frenzy, whilst ‘Evil’ inspires immense energy, and the bounding masses respond with a chorus of delight. Interpol’s new songs ‘Mammoth’ and ‘Rest My Chemistry’ are reminiscent of the forceful surges of ‘Antics’ with flecks of the tender but intense ‘Turn on the Bright Lights’. They are met with as much enthusiasm as the old tunes, and the audience’s reaction to ‘The Heinrich Manoeuvre’ is as vibrant as when they bash out ‘Public Pervert’ – a refection on how they have refused to compromise their artistic integrity by bathing in the tides of the mainstream. The most poignant part of the evening is when Interpol grace us with ‘NYC’, ‘Obstacle No.1’ and ‘Stella Was a Diver and she Always Went Down’. These original, evocative songs are truly spectacular and have the crowd salivating and bouncing around erratically. It appears Interpol have maintained the capacity to bewitch the masses with their brooding demeanour, and the continuity of their intricate songs. Maccabees too have already carved a distinctive identity and have a loyal fleet of admirers that will no doubt follow in Interpol’s precious footsteps.