The Strokes Live At Madison Square Garden - 4/1/2011

This past weekend, I took the Keystone 646 to the grundle of Manhattan, Penn Station, to witness two amazing performances in two nights at Madison Square Garden (more on the last LCD show later).  After getting in early enough to catch Rubber in it's limited-to-NY/LA opening weekend, devour a coconut tiger shrimp num pang, pick up the new Flaming Lips/Neon Indian collaborative 12" at Other Music, and sip a few $4 pilsners at D.B.A.'s happy hour, I headed to back up to midtown for one of a handful of Strokes shows (most are actually festival appearances) scheduled to promote their latest album. 

By the time I found the poorly marked general admission entrance on 8th and 33rd and navigated the labyrinthine hallways connecting it to the pit, it was already 8:30.  I'd already seen Devendra Banhart open for MGMT over the summer so missing him was NBD, but technicians were soundchecking a decidedly un-Strokes like set-up of equipment - uncentered drum kit, only one guitar, and a prominently placed keyboard.  Thinking the opening act had just been delayed, I tried to remember what their stage set-up had been.  But before I could think too much, the lights dimmed and fucking Elvis Costello took the stage with his band (are they still considered The Attractions?), greeting the burgeoning crowd, "Happy April Fool's!"  Their unexpected set was abbreviated to three songs - "Pump It Up"/"Radio Radio"/"(What's So Funny 'Bout) Peace, Love And Understanding" - but its aim was true.  The energy of the driving keys and rhythm section brought even those in the nosebleeds to their feet.  Donning his trademark shades and a bright red fedora, Costello impressed on both the guitar and microphone.  Unlike many singers his age, his immediately recognizable voice has been mercifully spared of erosion over time.  The surprise set was like an injection of pure adrenaline into the crowd, but the show was just getting started.

The young crowd was beginning to get restless, halfheartedly starting slow claps and lame chants, as roadies tuned and leveled the main act's equipment while Twin Shadow songs played over the PA.  Soon enough, the fellows got down to business, appropriately starting things of with debut album opener "Is This It."  I peripherally noticed the bright red cherries of at least ten joints (Really? They seem like much more of a stimulant or hard booze band) in a ten foot radius as everyone in the arena sang along to every single word.  Things got a lot faster/louder/rowdier with "Reptilia" and the band rarely let their collective foot off the gas, effortlessly churning out hit after hit (Jesus, they already have enough for the inevitable RCA greatest hits cash grab).  See video below for new single "Under Cover Of Darkness."  


They played presumed closer "Last Nite" fifth; this was when things started to get smelly in the tight GA section.  Somewhere in the middle of the blahness of new song "Life Is Simple In The Moonlight," singer Julian Casablancas left the stage and plunged into the crowd, eager to get a whiff for himself.  Crazy tweens (they audience was pretty young - not sure if Is This It could've made much of an impression on someone who was eight at the time) were actually pushing to leave their primo spots in the front for the chance to possibly touch the singer as he made his way around the side and to the back of the pit; those of us not suffering from Teen Beat blood lust where quick to take their spots.  I was resigned to just watching the band (not going to speculate on the symbolism of their separation from the singer) as they started "Juicebox" when the crowd around me became increasingly restless.  Turning, I noticed the spotlight on Casablancas was coming right in my direction, and in perfect timing with the first chorus, I felt your boy's arm around my shoulder.  With everyone around us pushing and clawing at his disheveled leather jacket, the two of us sang "Why don't you come over here?  We've got a city to love." He pressed on to the security of the stage, but not before the internet-age fanboy in me could get a quick Magic Eye snapshot:

I'm sure a lot of attendees were confused as to why the band insisted on incorporating Angles lowlight "You're So Right" into the set, but the smelly fucker in front of me who was so obviously rolling didn't seem to mind as he waved two fully extended peace signs back and forth above his head for the song's duration.  A giant disco ball (possibly a loner from LCD?) dropped for the beautiful "Under Control."  

The crowd sang along violently to 9/11 black-listed "New York City Cops", ensuring that the terrorists would not win that night.  Casablancas quipped that main set closer "Taken For A Fool" was their Costello song and jokingly sang a line in an impressively spot-on D.P. MacManus imitation, joking that they should've planned on playing it with the surprise opener.  April Fool's again, bitch - they totally did plan it!  The two traded lines as the audience documented the collaboration.

Starting the five song encore on a subdued note with lead guitarist Nick Valensi on a synthesizer and Albert Hammond on restrained accompanying guitar, Casblancas sang "Ask Me Anything" for "the first time in a while."  A surprising live standout was new song "Gratisfaction" - if "Taken Fool A Fool" is their Costello homage, they certainly had Queen in mind for this one, especially for the rare everyone-sings chorus of "You're never gonna get this love."  The Strokes closed apropos with debut album closer "Take It Or Leave It" as Casblancas again hung out in the audience (handicapped section actually) for the majority of the tune.  This is probably my favorite song of theirs so it left me with a particularly good taste in my mouth.  Going into the show, I was interested to see whether their stage presence would reflect the sense of ennui that is wed to their definition-of-cool image.  I certainly wasn't asking for them to bust out any tired rock star moves or poses, and they didn't, save for a few Valensi solos atop the monitors which were still in the realm of good taste.  Instead, they managed to at least look like they were having fun while playing one of the tightest, heavy-hitting, low-on-filler shows I've seen in awhile.

Setlist:
Is This It
Reptilia
Under Cover Of Darkness
Hard To Explain
Last Nite
Life Is Simple In The Moonlight
Juicebox
Someday
You’re So Right
Under Control
You Only Live Once
New York City Cops
Games
What Ever Happened?
Taken For A Fool (With Elvis Costello)
Encore:

Ask Me Anything
The Modern Age
Gratisfaction
I Can’t Win
Take It Or Leave It