Live: Interpol at Fillmore Miami Beach, April 29 | County Grind | South Florida | Broward Palm Beach New Times | The Leading Independent News Source in Broward-Palm Beach, Florida


Live: Interpol at Fillmore Miami Beach, April 29

With School of Seven Bells
The Fillmore Miami Beach
Friday, April 29, 2011

Better than: Taking a love potion.

The review:

Much like a first date, Paul Banks was shy early in Interpol's set Friday. He loosened up quite a

bit after the first couple of songs were played. By midset, he was

courting us. Then came the compliments: "You're a beautiful,

beautiful audience" -- and he really meant that, he said. Then he

got to the good stuff -- after looking into the audience, he

smiled a couple of times.

While their drums thundered and

guitars emitted forceful tones, Interpol remained still for almost the entire evening. With legs locked into place, they used only their arms to play the hell out of their instruments. It was stage minimalism. It was nonmovement. And it was intoxicating.

While smoke blanketed the stage's flashing white and red lights, guitarist Daniel Kessler's and singer Paul Banks'

faces remained lit up the whole time, but no such luck for the new

bassist. Each up-tempo number attached itself to the rhythm of what throbs

in your chest. A desirable paralysis spread from the performers onstage to the enraptured crowd, creating a roomful of anchors. The most intense moments of the night came when the suited-up clan kept still, often in utter darkness. (Who knows what drummer Sam Fogarino was wearing?)

These four well-groomed, seductive men on

stage were simultaneously romantic, scary, and elegant. They were hosting a wine party in a dungeon. (And if their lyrics are any indicator, they love wine.)

Interpol played tight and clean, making even their slow numbers, like

"Rest My Chemistry," keep a pace that kept the crowd's bottled-up energy alive. Of course, the foursome moved a tiny bit. During "The

Heinrich Maneuver," Kessler stepped up and down his part of the

stage a few times.

After removing his jacket to display a red-and-black fitted flannel, Banks seemed to light up while singing the

new material off the band's latest self-titled album. His can-be-composed-during-certain-songs facial

expression became riddled with emotion. For "Lights," the crowd joined in

as Banks repeatedly serenaded with the chorus line: "That's why I

hold you." Besides chanting

along and swaying, some fans held their hands over their hearts. During

"Try It On," Banks actually rubbed his head and forehead, showing us a

more intimate side -- what he looks like frustrated. Once Banks started belting out "NYC," however, it was clear he still was smitten with the old.

The beauty of Interpol returning to the

Fillmore after only eight months -- it weeded out the

quasi-appreciators. The crowd knew all the material and loved the new

songs as much as the old. Everyone clapped during "Slow Hands,"

and Banks' talk-singing real fast was a wonderful

moment during "Evil." When he sang, "Turn on the bright lights," the Fillmore was finally full of light.

Critic's Notebook

Random detail: Paul Banks has a mullet!

Personal bias: There

is something so homey and familiar to me about Interpol -- oh, yeah, my

21-year-old self was obsessed with them.

The crowd: Scary how mainstream Interpol feels after taking a gander at

the crowd, a fair share of

manicured yuppies. No polling necessary; true fans

filled the crowd -- from the woman dressed in a black dress there by

herself to the avid male Interpol fan swaying next to me who wore a Joy

Division T-shirt.

Overheard in the crowd: Her gaze directed toward Interpol: "They're pretty eye-fuckable."

By the way: After blowing the crowd a kiss, Paul Banks left the stage. I tried my hardest not to make this an ode to Paul Banks. 

Set List:

"Say Hello to the Angels"
"Hands Away"
"Rest My Chemistry"
"Leif Erikson"
"Try It On"
"The Heinrich Maneuver" 
"Memory Serves"
"Not Even Jail"  

"Length of Love"
"The New"
"Slow Hands"

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Mickie Centrone

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