Photos by Sofia Cardenas
Middle school: My mom took my phone away, so I had no choice but to find another vehicle for my grimy Apple earbuds that I refused to ever take out. Digging through a hallway cabinet, I discovered my mom’s old lime green iPod Shuffle. Surprisingly, it still worked. Plugging in my earbuds, I skipped through my mom’s songs that had soundtracked my childhood. Suddenly, nestled between 2Pac and Kate Nash, I heard the beginning guitars to Interpol’s “Say Hello to the Angels,” and was immediately hooked. I then ran to the family computer and typed in all the lyrics I could retain, discovering the album it was housed within — 2002’s iconic indie rock debut, Turn On The Bright Lights. Since then, Interpol has remained one of my all-time favorite artists as I dove into their early records, and eventually branched into their newer discography in my later high school years.
On August 28, Interpol will release their seventh studio album, This Mirror Weighs a Ton, with three singles thus far previewing a slightly more electronic-infused record. Having already seen Interpol in 2023 and 2024, I made it a top priority to attend this year’s tour, opting for their San Diego show with rising shoegaze band julie as a supporting act— according to my most recent Spotify Wrapped, this was a lineup made in heaven. As a dedicated fan of both bands, I knew before the show’s end that it was already one for the books.
julie
I first discovered julie in late 2023 with the release of their single “catalogue.” I was immediately drawn to the uniquely grungy, shoegaze sound that juxtaposed the more feminine visuals the band curated, like the enigmatic illustrations on single and album covers drawn by drummer Dillon Lee. For a band that had only been around for a handful of years, they seemed to already know their musical footing. Cut to 2024, and I’d cemented myself as a diehard fan upon listening to their fresh debut album, my anti-aircraft friend. Tracks like “feminine adornments” and “clairbourne practice” were on constant rotation during my sophomore year of college, so I was thrilled at the chance to finally see them live in San Diego.
Preparing the audience for their appearance, a somber cello solo echoed through the Rady Shell field before abruptly cutting to a deafening bass-boosted sound: sonically, it’s a perfect representation of what julie is. Frontwoman and bassist Alexandria Elizabeth’s ribbon and chiffon tutu, the flower print and Hello Kitty plushie on Lee’s drums, and Yoshitomo Nara stickers placed on Keyan Pourzand’s guitar were perfectly contrasted by the dark, blaring distortion of the band’s melodic opening track, “april’s-bloom.” Despite being mere feet away from them in the photo pit, the quick introduction to “catalogue” grasped my full attention. I couldn’t help but lip-sync the entire song as I darted between stage left and right, snapping different angles of the performance. Julie’s effortlessly cool demeanor left its mark among unfamiliar Interpol fans, who I watched whip out their phones to record segments of songs throughout their set.
With the beginning bass line of “kit” accompanied by Pourzand’s vocals, julie introduced their take on DIY rock to a bigger audience. Being one of the earlier tracks in their discography, “kit” perfectly encapsulates both the moodiness of julie’s sound and their authentic approach to building upon the legacy of shoegaze for a new generation. As the sun began to set, julie closed with their break-through track “flutter,” which built them a cult following in 2020, and has again won over new fans tonight. After finally witnessing the band live, I can’t wait to see where their blooming career takes them in the next few years, with bigger headline tours and larger venues certainly on the horizon.
Interpol
Being my first time at the Rady Shell, the cooling ocean breeze was a much needed break from the summer heat currently plaguing Los Angeles. Yet having already seen Interpol live, I fully expected them to follow their tradition of opening their set with “Untitled,” a predominantly instrumental song to ease the crowd into the rest of the moody rock tracks on their discography. To my utter surprise, Tony Hawk walked onto the stage, drawing confused yet ecstatic cheers from the audience. The San Diego native voiced that he had been a longtime fan of Interpol since they appeared alongside him as a musical guest on The Tonight Show with Jay Leno in 2004. “I’m not gonna quit skating until Interpol stops touring,” he said.
After formally introducing the band to the stage, Interpol opened with their new single “This Mirror Weighs a Ton,” released this June. The red lights that drowned the stage echoed the iconic red and black color palette that Interpol has stuck to since their debut. Frontman and guitarist Paul Banks’ heavy vocals melted along the slower, ambient track as flashing white strobes flickered during the chorus. The minimal drum beat continued after the song’s end before the recognizable guitar chords to “C’mere” off Antics (2004) drew an overjoyed buzz through the venue. In unison, fans screamed the first lyric: “It’s way too late.” Horizontal light beams surrounded the members, yet Banks’ effortlessly cool stage presence — wearing his signature black sunglasses (despite it being 8:30 p.m.), his aura visible through the shine.
Making my way out of the photo pit, I finally was able to get a view of the band in their entirety. As I weaved through fans in the dark between songs, I was stopped in my tracks after hearing guitarist Daniel Kessler play his introduction to “All the Rage Back Home.” The song begins with his solo guitar and Banks’ vocals, before exploding into an upbeat indie rock tune as soon as he sings: “She said, you don’t need time / Be tame, you won’t meet your mate inside / My faith won’t lie.” The strobes and stage lights reflected off the stage’s namesake white “shell” that the band performed beneath — turning them into the rock equivalent of The Birth of Venus. Standing in the pit by myself, watching one of my favorite artists play, I took full advantage of my opportunity as I sang and danced without any fear of judgement. Coming down from my sudden energy-high, the band followed with “Rest My Chemistry.” The slower song let me take in my surroundings: the edge of the stage’s domed roof loomed above as I caught faint glimpses of seagulls flying overhead in the dark. The scenic venue spread out into the San Diego Bay, surrounded by docked ships slowly bobbing atop the harbor’s gentle tide. From here on, I knew that this was a venue I would definitely return to.
Giving fans a bigger taste of their upcoming album, Interpol also played “See Out Loud” and the currently unreleased track, “Wings on Fire” back to back. With these tracks, they tease a matured rendition of the distinct sound that earned them notoriety in the rock scene while including more electronic elements in the song’s instrumentals. “See Out Loud” even features a vocal performance from Kessler, who had previously only stuck to guitar and backing vocals. After switching the order of setlists each night on tour, concertgoers waited in anticipation for what song came next. Out of the darkness of the stage, the bassline to Interpol’s biggest song, “Evil,” immediately resulted in a symphony of cheers before the crowd yelled, “Rosemary / Heaven restores you in life,” briefly overpowering Banks’ amplified voice.
There were plenty more highlights on the night’s setlist: Banks’ haunting acapella during the bridge of “Pioneer To The Falls,” the volume of fans singing the chorus to “Obstacle 1,” and the overall experience of watching “The New” performed live. The 2002 song begins as an unassuming track about heartbreak – all before taking an eerie turn during its second half: Banks and Kessler tune their guitars up and down while playing the same note, turning it into something more ominous than what it was first built to be.
After a brief pause for an encore, filled with some of the loudest “One more song!” chants I’ve ever heard, Interpol returned to their devoted crowd with “NYC.” Dedicated to the band’s hometown, the song describes the love–hate relationship that comes with a rapidly changing environment. Tonight, I listened to the song from a new perspective. Nearly reaching my one-year mark since moving to LA, the lyrics “Got to be some more change in my life” during the song’s outro hit me hard as I approach my final year of college while still adjusting to life in a new city. Interpol followed with “Take You On A Cruise” before officially closing the show with “PDA.” The guitar solo by Daniel Kessler that marks the beginning of the song’s second half resulted in clusters of fans jumping in anticipation for the rest of the band to join in. The emotionally-driven two-minute instrumental was a perfect way to end a 2000s-indie-filled night under the stars.
After seeing a lineup that I thought would’ve only been real in my head, I’m eagerly awaiting the next time each group makes their return to a SoCal stage. Being Interpol’s first performance at the Rady Shell, their natural command of the oceanic venue turned the show into a quintessential live experience for the band. In the same vein, it’s had me conjuring any excuse to make a swift return to the city…the two hour drive from Westwood aside.
Listen to Interpol’s newest singles here before the release of This Mirror Weighs A Ton on August 28!
Check out julie’s top songs here!
