Interpol Celebrates ‘Antics’ 20th at Forum with Support from The Walkmen

Photos and review by ALYSON CAMUS

LOS ANGELES – Interpol are a force, a musical force that fans cannot forget. It’s difficult to believe that their album “Antics” is already 20 years old as its songs haven’t lost any of their creativity and unique mood. Released in September 2004, “Antics” followed their brilliant debut “Turn on the Bright Lights” (2002) and preceded the beloved “Our Love to Admire” (2007). Without a doubt, Interpol left their mark on the 2000s with a signature sound often compared to Joy Division – especially early in their career—a sound that has since evolved into its unique cold beauty.

The New York band is currently on tour to celebrate the 20th anniversary of “Antics,” a record definitely worthy of the anniversary tour treatment. As part of a broader series of gigs spanning the US and Europe, they stopped by Los Angeles’s Kia Forum on Saturday night. The crowd was dense and arrived very early – some fans claimed they had been at the Forum since “the crack of dawn” – to secure a good spot in the pit. This dedication says everything you need to know about their fan base: one guy mentioned he had attended more than 100 Interpol concerts while another shared that he was flying to New York to catch their shows in early December.

The Walkmen – All photos by Alyson Camus

The Walkmen opened the night with a high-energy set, treating the audience to their incredible material. This is a band that arguably never received the recognition it deserved, despite releasing seven studio albums and a brilliant debut. After a decade-long hiatus, they reunited last year for a very successful “A Revenge Tour.” I wasn’t very familiar with the Walkmen, but I was instantly captivated by their talent and music. Since they debuted in New York City around the same time as Interpol, it made perfect sense for them to open this memorable night.

The first thing that stood out was Hamilton Leithauser’s extraordinary croon, a true force of nature often hailed as one of the more iconic voices of the New York rock scene. He reached powerful heights during “What’s in It for Me,” the opening song of their set. They followed with the melancholic “On the Water” which evolved into a visceral performance, much like many of the songs that came after.

The entire band sounded fantastic and managed to effortlessly seduce first-time listeners like me with their diverse, dynamic, commanding, and forceful sound. The pounding drums of “Angela Surf City” announced a fiery delivery as Leithauser restlessly paced the stage, bouncing around and dragging his mic behind him. They exuded punk energy, infused with original melodies and driven by a frontman who embodied the music with all his soul and an impressive range of emotions.

They also performed “Wake Up,” described as “the second song they ever wrote,” before launching into their most iconic track, “The Rat,” immediately recognized by the crowd. Hamilton Leithauser appeared genuinely delighted to be there and amazed by the size of the venue, a natural reaction for a band more accustomed to playing small clubs: “We started out in New York and then it actually hit me, it was so fun being back with my best friends here on stage, so we did it for quite a while. We’re playing here tonight with old friends (Interpol) and then we’re going to Seattle for a while, so this would be our last show for a while,” he shared, reflecting on their recent reunion.

The Walkmen open for Interpol – All photos by Alyson Camus

With infectious energy, Leithauser alternated between playing guitar and fully embracing his role as the magnetic frontman. His extraordinary yell during the climax of “All Hands and the Cook”—which he introduced as “one of my favorite songs we wrote”—was a standout moment. They closed the set with “We’ve Been Had,” the very first song they ever wrote. The crowd was very appreciative of a great band stepping back into business with ease, talent, and undeniable class.

Setlist
What’s in It for Me
On the Water
In the New Year
Angela Surf City
Juveniles
Wake Up
The Rat
All Hands and the Cook
Heaven
We’ve Been Had

Interpol fanatics were out in full force at the sold-out venue, and the excitation peaked as the band took the stage. Initially, they were partially obscured behind a translucent curtain during the first song of the night, “Next Exit,” the opening track of “Antic.” This created a striking visual effect, with their shadowy silhouettes outlined in black behind a curtain illuminated by bright red light. Midway through the next song, “Evil,” the curtain dropped, revealing the full band and sending the crowd into a frenzy of cheers and screams.

This stage trick was perhaps the most dramatic moment of the night as the band is not known for elaborate stage antics. Bathed in dim red to blue lights the band performed in near darkness, with backlit setups, and occasional bursts of intense light that often turned into stroboscopic effects. These visuals perfectly complemented the music, always on the edge of light and darkness, creating a claustrophobic sound for a grandiose scenery, while their arena-ready sound filled up the forum with ease.

Their minimalistic stage presence matched the somber tone of their music, a signature sound defined by layers of piercing, soaring, hypnotic guitars, relentless and distinctive basslines, slow burns, and sudden releases of tension. Despite the songs’ blend of angst and melancholy, aggression and anxiety, people were constantly cheering up, expressing their joy to revisit this part of their lives.

Even if the band likely plays them at every show, fans’ favorite “Antics” tracks – such as “Evil” and “Slow Hands” – received their usual rapturous ovations. However, every song brought its moment of glory, from the sing-along during “Narc,” to the melancholic soundscape of “Take You on a Cruise.” Even the less anthemic tracks had the crowd fully engaged, with clapping and singing accompanying the dense soundscapes and shadowy rhythms. The deeper cuts from “Antics” shone like classics, perfectly capturing a post-punk era, defined by a post-9/11 heaviness, a heavy energy blending rebellion, hope, and despair. Unsurprisingly, “Slow Hands” – a track that seems to navigate between darkness, depression, aggression, and empowerment – drove the crowd around me into a frenzy of jumping and screaming. This was followed by a collective head banging and hand clapping during whirlpool-like “Not Even Jail.”

Some of Interpol’s songs are irresistibly catchy with adrenalized guitar riffs and a unique delivery beautifully served by Paul Banks’s monochord dark baritone, a unique blend of authoritarian tone and romantic vulnerability that captivates everyone’s attention. These are rock songs although they do not sound like classic rock songs because of their dark haunting qualities.

“Length of Love” and its romantic brutality retained all its mystery – have you ever wondered what “Combat salacious removal” means? – but much of Interpol’s lyrics are like this: very mysterious, cryptic, borderline mystical, and thought-provoking, and that’s precisely why they resonate. While the pulsing beats are omnipresent, there is always too much cerebral appreciation of the music to lose yourself entirely and move with abandon.

Naturally, performing “Antics” in its entirety doesn’t make for a full show, it’s a relatively brief album. So, once they finished the 10 tracks, the band took a short intermission before returning for an encore that felt like a second show. They treated the audience to what felt like an entire second concert, playing nine more songs from their broader discography. They started with “Pioneer to the Falls,” the powerful and heartbreaking opening track from “Our Love to Admire.” How could you not melt at Banks’ delivery of the line – “You fly straight into my heart/But here comes the falls” – followed by this vibrant guitar solo? It’s just one example of their layered songs’ emotional depth and complexity. “Rest My Chemistry” followed, with guitars that sounded as if they were tumbling from a 100-foot tower, creating a strikingly dramatic effect.

Paul Banks’ reserved yet undeniably charismatic cool stage presence – complete with sunglasses, even under the dim lighting – set the tone for the evening. Meanwhile, Daniel Kessler’s tumultuous guitar turns and trance-inducing solos were another highlight of the show. Though Interpol’s lineup has evolved over the years—bassist star Carlos Dengler was replaced by Brad Truax more than a decade ago—their mystical and elegant stage presence remains intact. They effortlessly incarnate cool while singing about themes of alienation, disillusionment, and unmet desires.

Throughout the night, Banks kept his words to a minimum, saying little beyond “Thank you” and “It’s amazing” as he gazed out at the large crowd. He did take a moment to acknowledge the opening band, saying, “We want to say that we are so proud and honored to share the stage with The Walkmen,” and declared that Los Angeles has always felt like their second home. Beyond that, he let the music do most of the talking.

The crowd remained fully engaged, even during the less-well-known tracks like “My Desire” or “Roland” – songs that still capture Interpol’s post-punk brilliance. However, the band didn’t venture too far from fan favorites for long. Soon, we were treated to “Lights,” “All the Rage Back Home” and the beloved “Obstacle 1,” packing up a few more guitar-driven rock anthems.

After a brief exit, the band returned for a second encore, performing two more songs to close the night. While they might not have been among Interpol’s biggest hits, “The New” and “PDA” were fitting finales. During the latter, Banks’ monochord, detached baritone stood out, perfectly complementing the track’s layered intensity. Together, these songs brought a career-spanning set to a close with elegance and sincerity.

Like every Interpol show I’ve attended, this two-hour event was intense, leaving barely any time to catch a breath. The band enveloped the massive venue in a kaleidoscopic trance, with pulsating chaos pounding like a rapid heartbeat, pulverizing the place with elegance and confidence while cementing an enduring connection with their audience. Two decades later, their music continues to resonate deeply, proving its timeless appeal.