Live Review: Interpol – 8th November 2024 – Alexander Palace, London UK
2 min read
Interpol
Interpol’s recent performance at Alexandra Palace captured the spirit of the band’s early days while showing how their sound has matured. The venue, a vast, almost cathedral-like space, seemed custom-made for their shadowy, atmospheric style. Celebrating two decades since Antics, the band’s setlist was a balance of old favourites and newer releases that have pushed their style in darker directions.
As the first notes of Next Exit filled the room, the audience was fully absorbed, lost in the mix of red and blue lighting and Paul Banks’ iconic voice. Right away, the atmosphere felt almost otherworldly—a reminder of why Interpol’s sound has resonated so profoundly amongst fans across the globe. Banks’ vocals, deep and a bit detached, lent a haunting quality that complemented Daniel Kessler’s precise, chiseled guitar work, both reminiscent of their breakthrough years but still fresh.
When it came to the classics—particularly Evil and Slow Hands—the energy in the room was palpable. These tracks are synonymous with the early 2000s indie-rock wave, and hearing them live, with fans singing along to every line, was powerful. The songs’ rawness, combined with Sam Fogarino’s driving percussion, made each one feel like a shared memory between band and crowd.
Often compared to post-punk icons, Interpol has always stood out for its ability to blend angst with sharp, moody elegance, and that dynamic was in full force here. Often being compared to the likes of early post punk artists. I think Interpol have their own distinct sound. With a distinct twang of Neutral Milk Hotel, however far more electric and exciting.
The band’s newer songs, like If You Really Love Nothing and The Rover, brought a heavier, darker edge to the set, adding a fresh layer to the night without straying too far from Interpol’s signature style. While these tracks might lack the immediate pull of their earlier work, they still delivered and showcased the band’s growth and evolution. This mix of familiar anthems and new directions kept the show dynamic and added an element of discovery for fans.
In his usual understated style, Banks stayed mostly reserved, his delivery intense but distanced, as if drawing the crowd deeper into Interpol’s introspective world. Kessler, however, broke the intensity now and then, sharing a brief, playful connection with the crowd during Say Hello to the Angels. Moments like these gave the show an unexpected warmth, showing that the band could loosen up without losing their haunting edge.
Closing the set with a mix of newer and older material, Interpol reminded the audience of their journey over the last two decades. The encore felt like a full-circle moment—balancing nostalgia with where the band is now, all while keeping the room captivated till the last chord faded. They had this ability to hold the audience still, they seemed reluctant to leave, as though they’d been transported and needed a moment to reenter the real world.
