It's been a while since Interpol played Leeds. Almost four years, in fact. And despite this being their fifth appearance in the city during their career, three of those have been festival slots, and this is their first proper headline show. Add to this the fact that they're the sort of band who command a very dedicated following, it's small wonder that the place is packed out even before the support are done, that there's a very tangible buzz of anticipation amongst the extremely mixed demographic audience.
Having a new album out - despite the fact it's had something of a mixed reception - means that they could be forgiven for turning up, playing the album and throwing in one or two cuts from the back catalogue, particularly near the end, and leaving it at that. But, having done a spot of research beforehand (ok, so I've been looking forward to this one for months and was curious to know what sort of sets they'd been playing. Gotta love setlist.fm), I knew this wouldn't be the case, and that, while having a certain number of core songs, they're given to playing a different set every night. It's an approach too few bands of their stature take: it keeps things fresh for fans and band alike, and people will generally forgive the odd bum note if it means seeing a band who aren't going through the motions to get through another night on the road. Moreover, while well represented, the new album isn't overemphasised, and the back catalogue is more than generously featured. What's more, as Interpol are not an overtly singles-focused band, it's the rich wealth of strong album tracks that get to make the set.
Tonight, they open - as is seemingly standard - with 'Success', the first track on their most recent eponymous album. They sound lean, tight, the drums are nicely up in the mix and crisp, and people are singing every word from the get go. Without a pause, they’re straight into 'Say Hello to the Angels'. 'C'mere' follows straight after that, before 'Hands Away' provides something of a breather, at least for some. The guy next to continues his strange combination of pogoing, jogging on the spot and disco moves - all at the same time - and persistently jabbing his elbow into my ribs. Still, it's not malicious and he's enjoying himself. Interpol might not be the most visual of bands, but they succeed in transporting the audience without any corny posturing or the need to whoop it up insincerely.
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Having said that the back catalogue is well covered, the third album, 'Our Love to Admire' is represented by only 'Rest My Chemistry' and 'The Heinrich Maneoever', which means no 'No I In Threesome' and no 'Mammoth’. Still, 'Evil' and 'Take You On A Cruise' from 'Antics' are electric, while 'Lights' - one of the real highlights of the latest album - is immense. Not as immense, however, as the rendition of 'Specialist', dredged from the darkest depths of their early EPs for a very rare airing. It's more than adequate compensation for the other omissions, such as 'PDA'. They sign off with a stonking version of 'Obstacle I' that sends everyone potty, and rightly so.
There is an encore, of course. Returning to the stage with the shimmering shoegaze of 'Untitled', they immediately follow that with 'The New', which is taut and sinewy and packs a mean punch. From my position down the front – free of the sweaty flailing dude at last - I'm able to observe that the long bendy notes are played by detuning and uptuning the strings with the machine heads, which is pretty cool. It's about the only thing in this sweatbox that is, especially when they wrap things up the one they've - we've - all been waiting for, 'Slow Hands'. Everyone leaves hot, sweaty, and above all happy. Definitely worth the wait.
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