SOLD OUT SAN DIEGO SHOW FEATURED FOURTH PERFORMANCE OF NEW TRACKS

Let’s take a minute here. Those closest to me as well as even casual followers of MMC* know all too well that New York-based indie post-punk band Interpol are my favorite band of all time. I went beyond “Obstacle 1” early on in high school and quickly fell in love with their debut. This love blossomed into almost a devotion, with myself getting their logo tattooed on my arm at age 18 (my first tattoo). To take photos of the band has been on the bucket list since I could fathom it. I knew since 2013 that concert photography existed, but never did I think I could perform it, mostly due to being shut out and declined by publications both big and small growing up. That’s the main reason why I started my own thing, and with all the connections and friends I’ve made thus far, I was finally granted access to shoot the one and only Interpol. Thank you to Jake Whitener and Emily of Matador Records for believing in me and creating a connection, it means so much.

Since Interpol weren’t playing an LA date, my partner and I voyaged two hours out to San Diego to catch them at the funkiest venue of all time with the longest name of all time: Cal Coast Credit Union Open Air Theatre at SDSU. It was my first time at the theatre and as soon as we walked in, the place was packed with lines to everything stretching 60 people deep. Even the restrooms were jam-packed with fans noting how they were the longest lines they’d ever experienced. Luckily we had some time to spare after Tycho closed his set. It was an interesting pairing to have a DJ open, but considering Flood and Moulder producing the newest Interpol record, I could see them wanting to go in a different direction sonically.

I waited up the steps of the three tier venue, with a 9:15PM cut off time to head into the photo pit. I calmed myself as fans began to get rowdy with excitement, and before you know it the lights come off at 9:12PM. This alarmed me greatly so I ran down the steps as quickly as I could, with the rep stating that the band was early and was thrown for a loop as well. I and the two other photographers entered this platform-photo pit that was about a workbench long with metal bars welded onto the front and back portions of it, making it so you had to duck under the bars to get different vantage points.

The lights were still out black with the rough shapes of the band on stage when the intro to Turn on the Bright Lights opener “Untitled” began to play. I have been third row at The Hollywood Bowl for Interpol and on the barricade at the El Rey, but this was completely new. The hairs stood up on the back of my neck as I waited for the white lights to illuminate the silhouettes of my heroes. “I will surprise you sometime, I’ll come around,” sang Paul Banks, wearing an all black suit with turtleneck. I studied Daniel Kessler’s movements, strutting back and forth tapping to his “Kessler shuffle” as fans like to call it. Drummer Sam Fogarino was covered in fog and lights most of the night, but I managed to see his goggles and of course hear the beat and soul of each track.

Banks thanked the crowd and smiled before honorary bassist Brad Truax played the riff to fan favorite “Evil.” The crowd went nuts, leaping out of their seats to sing and jump to the track. My last song to shoot was a new one, and not any of the two singles released. “Fables” was a gracious slow-burner that ended with an alt jam which excited me for what else is awaiting on The Other Side of Make-Believe. White spotlights came down like lasers sporadically on all ends of the stage, with one soaking on Banks’ face. My dream was finished in the flash of ten minutes, but the show remained.

Lucky for me, I didn’t have to check in my camera and was able to shoot from anywhere else after the three initial songs. I took the liberty of capturing a few shots from my seat as well as in between the second and third tier of seats, but I wanted to enjoy the show and let all the new material into my earholes. Besides “Stella” and maybe two others, I’d say the set list was so close to perfect. No one could complain, old and new fans. I was satisfied with Antics cuts “Take You on a Cruise,” “Narc,” and “C’mere.” Getting to hear “Pioneer to the Falls” and “Lights” with their expansive intros was magic. Those are tracks I often listen to with my dad who is an avid fan and the reason I was introduced to their music. Unfortunately he was unable to attend but got to live vicariously through my iPhone videos.

About half way through the set, Kessler traded his guitar for a keyboard and I was unaware that he began the track, but I knew “Toni” was coming. After hearing it live, it will be a well-appreciated song in the never-ending list of lovely songs from the band. Interpol also performed new cuts “Something Changed” and “Into the Night,” all of which were played for only the fourth time ever! The music is definitely something new for the band, sounding slightly more obscure as opposed to previous album singles “All the Rage Back Home” and “The Rover,” both of which hit the ground running. Songs like “The New” that almost didn’t make it on Bright Lights always gets me with its lyrics, similar to “Leif Erikson” which were both saved for the end of the set. Banks introduced each member of the touring band, and repeatedly thanked the audience for coming out and sharing the moment. After COVID and a brief hiatus, Interpol seem as grateful as ever, which they deeply expressed before saying goodnight with “Slow Hands.”

Right before their encore, the band played “NYC.” The chorus of “It’s up to me now, turn on the bright lights,” has always stuck with me. I’m not 100% sure on the meaning of it besides what the band was feeling being in a post 9-11 NYC, but I’ve always interpreted it as taking matters into your own hands and showing compassion and love and hard work into whatever you want to do. It’s up to you to figure it out, but you will eventually get to the greatness you deserve. These words decorated my college graduation cap, and they’ve become ever so pungent with the passing of my mom who also listened to Interpol quite often. To have her witness this event for myself is a wish that can never come true, but I would have loved for it to take place. Dealing with loss isn’t something you can put into words, but those lyrics somehow explain what I feel about those specific emotions. I’ve always held myself accountable for goals and problems and issues I want to achieve and work out, and once my mom left us, I applied the lyrics to not just my work goals anymore, but my family ones as well. I’m doing everything I possibly can to move in positive directions for everything I want to achieve, and looking back, I can say I’ve made a sizable dent. This was a night and goal unfathomable five years ago, but it’s done. It’s up to me now, turn on the bright lights. Check out the set list here!