Gig played on 15/05/07

"A revolution happened. Oh sorry, you haven't heard", observed Jarvis Cocker a decade ago, as Pulp bought the mighty "This Is Hardcore" to a close. Although many might argue that Jarvis can see into the future, it's unlikely he was referring to Interpol with that lyric. But as the band depart the Koko stage to red mist and rapturous applause, one can only assume they're not yet ready to embrace the future, judging by a decision tonight to present a greatest hits show to a crowd surely deserving of fresh meat.

In the 21st century, mobile phones have replaced aloft lighters as the gig accessory of choice. Four months ago, Arcade Fire played an impromptu busking session on the steps of a London church. Their landmark return was heralded hours later by unwatchable footage on YouTube. Two days ago, Yahoo! Music witnessed a dazzling show from Wilco, who famously gave away one of their albums, inspiring the band's eminent resurrection. Check-out Battles' MySpace now and you can listen to their debut in full. However, visit Interpol's and all you get is three - old - songs.

So it is that Paul Banks, Daniel Kessler, Carlos D and Sam Fogarino make their cripplingly over-sold comeback, amidst excitable chatter about imminent new record "Our Love To Admire". This evening, however, they are cautious and calculated, because, as drummer Fogarino explains: "You think about all the work you put into producing that album and making it sound as grand as it does, and being exciting about finally unveiling, and then you just hear noise on YouTube. We just can't take that risk." Clearly, this is a band for whom image and perception are essential, at all costs.

From the second they emerge, in a flash of strobe sirens, Interpol have a keen sense of style. Everything about them - their dark attire, titles, lyrics, the intense, claustrophobic sonics and even D's elegantly dismal moustache - reeks of panache and edgy pretension. At times tonight, when the lack of new material (or familiarity of the old) drags, this studied cool works for them. An urbane Banks has long since shredded the gruesome skin of his childhood - the abominable seaside 'resort' of Clacton-On-Sea - for a black overcoat of enigmatic assurance. It is this that puts them far beyond the reach of, say, Editors. And then, of course, there is the music. Some of which is new.

Opener "Pioneer To The Falls" starts intricately, amid a series of romantic flourishes from singer Banks, before going widescreen and immense. New single "The Heinrich Manuever" peers down at the American West Coast from a Manhattan tower block in a fit of juddering guitars and booming toms, while "Mammoth" is exactly that, all 4/4 drum attack and mangled Kessler noise. Elsewhere, Interpol remain fearless. "Obstacle 1" makes "stabbing yourself in the neck" sound ace, "PDA" is an onslaught of white light drama and flailing limbs, while "Not Even Jail" has perhaps the finest intro of any rock song in recent years. However, few of us came here for old revelations.

by Ben Gilbert