Live Review: Interpol + Bridezilla – Enmore Theatre, Sydney (04.01.11)

Interpol are no doubt the most fruitful contribution America has made to the world of modern day rock and roll. Despite the departure of suave bassist Carlos D last year, Interpol have managed to sustain the aesthetic integrity he brought to the band. Following headline positions at Falls Festival, Sunset Sounds, and Southbound, Interpol played two exclusive sideshows to promote their fourth self-titled album with support act Bridezilla.

The local Newtown babes have built quite a successful name for themselves over the past couple of years, and with their unique musical style are sure to expand their reputation even more so. While the band seemed to keep the majority of the audience entranced with their ethereal musical rhythms, it seemed as though their music is not as profound as it could be.

With an extremely dedicated violinist (her intensity while playing was pretty interesting to watch), a saxophonist, as well as the keys, drums and guitar, Bridezilla could definitely be making music even more beautiful and hypnotising than that they performed on the night. Despite that fact, they still proved they had the talent deserving of the attention they receive, particularly when Millie Hall took hold of the vocals.

Interpol took to the stage to a near silent audience, a silence reciprocated by the band as they comfortably located their positions, picked up their instruments, and launched into “Success”. Paul Banks was sporting an elegant mohawk, standing still and sombre whilst delivering his baritone lines, and the sprawl of people standing within the expanse of the Enmore were attentive and paralysed in their concentration.

The band rarely interacted with them, and just the same, the majority of the audience seemed transfixed and more interested in spectating than dancing. The shadows cast by the flashing lights exposed the few mental fans, arms flailing and waving about, casting shadows onto the blank walls of the theatre, some proof of unbridled dedication within the audience.

“Barricade”, “Evil”, and “C’mere” seemed to hold the most esteem for the gathering of people within the theatre, inspiring a lot more movement, dancing, singing, and general enthusiasm. Between these moments of intense musical collaboration between band and fans came shouts for “Stella!”, which were sadly ignored by the band. Dark recitals of “Memory Serves”, “Obstacle 1”, and the band were off the stage to a rush of eager shouting and sudden surge of noise from the audience that had been absent throughout the gig’s entirety. An encore was inevitable, and Interpol returned to the stage with “NYC”, “The New”, “Slow Hands”, and “Not Even Jail”.

The dynamic between the band and audience was one I had not experienced before, it was almost as though their mere presence was enough, that their importance to the fans was understood and so no further fraternisation was needed (aside from a few surprising thank yous). The most beautiful thing about Interpol was their live performance, their musicianship and delivery were near impeccable. It was not that their songs mimicked the recordings, but they were delivered with a new elegant moodiness that presented them with a unique dimension.

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