Interpol's new live show is more dynamic than their previous effort.
That's better chaps. This time round Interpol, the world's best-dressed band, looked dashing and sounded even better after a disappointing concert in Auckland a few years ago.
Not that their less than enthusiastic show last time put the fans off. The near sell-out crowd got the Auckland Town
Hall heaving at times.
You suspect the New Yorkers knew they had to front up if their less aloof approach was anything to go by.
Guitarist Daniel Kessler put his back into it, drummer Sam Fogarino toasted the crowd many a time with his ever-full glass of wine, and shy frontman Paul Banks cracked some coy smiles.
Banks' most touching moment was wishing us all a happy Valentine's Day when they came back on stage for an encore that started with a fragile and trembling NYC - the highlight of the night.
It's amazing what a difference enthusiasm makes. Although bass player Carlos Dengler, his jet-black hair with a streak of blond making him a Sweeney Todd lookalike, cut a maudlin figure thwacking away on his pummelling bass.
Interpol's new album, Our Love To Admire, is a far more elaborate and grand affair than previous works. As a result, their new live show is more dynamic compared to the intense drone-fest of old.
These days they move from floor-benders like Slow Hands, Evil and The Heinrich Maneuver to a lilting serenade like Rest My Chemistry and the beautifully sombre No I In Threesome.
Yes, you can hear the influences: the post-punk Joy Division, sometimes there's Johnny Marr from The Smiths in there, and there's something early REM-ish about them, too. But it's clear Interpol have evolved. During the encore especially, the songs became extended jams and trance-inducing. They sounded like more than just post-punk revivalists.
This time Interpol proved they're a great band and not just a quartet of smart suits.
