Published Sep 01, 2003The Metro Theatre in Sydney has to be one of the finest rock clubs in the world, boasting first-rate sound, reasonably-priced beverages and perfect sightlines at any corner of the massive showroom. Even at its highest capacity, the venue remains comfortable, with every little detail covered (right down to the temperature of the room) to make the often painful task of seeing live music an enjoyable one. So, even with people piled in for Sydney's second sold-out Interpol show in as many days, the crowd was grinning and eager to finally see NYC's hype darlings in action. And it's a good thing the audience was at ease from the get-go, because the night's openers, Sydney's Faker, proved to be nothing short of painful. Mediocre rock songs played by wannabe heartthrobs, most chose to stay away during their set, instead seeking refuge in the alcohol being served out front. Though there was a small cheering section on the floor during Faker's set, it baffles the mind to think they were actually enjoying themselves. A band's name has never been so fitting. Thankfully, Interpol hit the stage very soon after Faker's attempt at a big show closer, which basically consisted of lead singer Nathon Hudson's half-assed attempt at a handstand, and saved the crowd from the tripe they'd just ingested. A much harder-hitting sound than they produce on record (surely due to the perfect acoustics of the room), Interpol played a flawless set mostly comprised of album cuts from last year's Turn On The Bright Lights. Keeping with the theme of the record's cover art, the hour-long set was lit up from top to bottom, framing the suit-clad quintet in moody red lights. With the roar that came after the first few notes of "PDA," the album's first single, it's obvious that Sydney is just being introduced to Interpol, but considering the excitement that pulsed through the club during the encore, it looks as though Interpol can count the Australian public among their ever-increasing stable of fans.