Interpol Performs Polished Post-Punk

Author: Erika Mercer

A stage bathed in red and yellow light, a hovering layer of thick smoke, a crowded room of fans anxious for music -- this was the setting at Higher Ground on Sunday, Jan. 19, for the awaited performance of indie rock bands The Static Age, Calla and Interpol, sponsored by 99.9 FM The Buzz.

The night began when the local Burlington band, The Static Age, took its place on stage and began its first song, following an apology by the charismatic lead singer, Andrew Paley: "My guitar's out of tune and I've got laryngitis."

Despite his laryngitis, The Static Age performed a satisfying set: the prominent keyboards and Paley's raspy voice provided an electronic '80s flavor, while the strong beats and dark lyrics added a depth and intensity.

Calla, the second opening act, performed more opaque, Radiohead-esque music, though with less variation and mystery than Radiohead. Each song revolved around a mounting tension, beginning slowly and hypnotically and building to a loud, pounding climax.

The lead singer, Aurelio Valle, opened his songs by crooning sometimes menacing lyrics into his microphone -- "Sorry for the inconvenience / It's only 'cause I'm losing patience" -- then allowing his voice to rise, wail and moan. While dramatic and mesmerizing, the songs soon became predictable and somewhat repetitive.

After a lengthy set change, the headlining band, Interpol, graced the stage under pink and red lights, immediately launching into a short intro while the lively audience bustled and cheered on the New York Citybased quartet.

The intro melted almost imperceptibly into Interpol's first song, "Roland," an energetic introduction to their minimalist '80s post-punk sound.

The soft-spoken lead vocalist, Paul Banks, clad in a dress-shirt and tie (over which he'd casually pulled a plain black v-neck T-shirt) sang in a low, droning voice that was charmingly juxtaposed with his boyish face and scruffy hair.

Like each of the band members, he appeared completely absorbed in his own character and role -- formal and disheveled at the same time.

The base player, Carlos Dengler, sporting a tight, posh suit and tie, danced constantly in a jerky, erratic craze, while beside him the touring keyboardist banged frantically at his keys like a mad scientist stirring a potion.

The drummer, Samuel Fogarino, played coated in shadows, almost undetectable at the back of the stage, and guitarist Daniel Kessler played quietly off to the far left, modeling striking Elvis-impersonation sideburns and a black suit.

Each played in their own mad reverie, apparently oblivious to all around them, yet miraculously and flawlessly creating layered, interwoven music. The set contained mostly songs off of Interpol's 2002 release, "Turn On the Bright Lights," an album that won the band its current fame among other post-punk bands such as "The Strokes," "Spoon" and "The White Stripes."

The highlight of the performance came halfway through the set when Interpol played "NYC," one of their slower, more moving songs. The crowd swayed in unison as the band members shrouded themselves in clouds of cigarette smoke.

Banks' unique voice, a chilling low monotone, took on a pleasingly larger and more apparent role in the band's Sunday night live performance than on their recorded albums, where it remains much more muffled and hidden behind the instrumentation. Due to the vocal prominence onstage, the live music assumed a level of emotionality and expressiveness not present on the mastered albums.

The live performance offered a satisfying change from the album's more produced feel, creating a high-energy, rewarding show.

The night ended with an anxiously awaited two-song encore. Finishing their last song to a room full of excited, pleased fans, Interpol played the songs, "The New" and "Obstacle 2."