The Strokes fire up The Forum

After three dates were rescheduled due to the coronavirus pandemic, The Strokes finally landed in Los Angeles Wednesday night and The Forum buzzed with excitement. The band’s name, projected above the venue’s famous red and white architecture, welcomed concert–goers with open arms. 

Whether it be Gen Z clutching White Claws in their leather jackets or middle-aged couples on a date night past their bedtime, the arena was filled with both new and old fans, brought together by their love of the ever elusive, New York-based band.

Just before the band was (fashionably) late to hitting the stage of the sold-out show, the venue was lit with the flashes of iPhones as fans endured the anticipation of watching roadies set up mic stands and audio technicians fine-tune the tone of the guitars and bass. 

And, just like that, making no time for long, dramatic entrances, the lights went out and The Strokes emerged, with lead singer Julian Casablancas, sporting a black, denim-on-denim outfit and somehow making a mullet haircut a symbol of effortless coolness.

As the beginning strums of one of their lesser known tracks, “Call it Fate, Call it Karma,” played and as Casablancas nonchalantly slipped into the first line of lyrics, the crowd erupted with pure excitement as the long-awaited show they’ve had tickets for years now finally began.

“So, where were we?” Casablancas said. “Two years ago, before we got so rudely interrupted.”

As the band jumped into “Bad Decisions,” the second single off of their latest and most revolutionary album, “The New Abnormal,” the arena became infused with the vibes of an ‘80s-esque radio hit that got people jumping and dancing without a care in the world. 

A giant screen behind the stage displayed a hallway with curved ceilings, illuminating a warm, burnt orange to match the lighted bars of the stage lights in sync with the wistfulness of the single.

Following iconic tracks such as “Juicebox” and “Someday,” the band made their live debut of “At the Door,” an angsty, synth-filled song off of their new album that showcased the hauntingly nostalgic voice of Casablancas, his live vocals penetrating the audience with a sentiment that tugged at its heartstrings. 

Halfway through the concert, complaining of the dense heat of the lights, Casablancas took off his denim jacket to reveal a surprisingly shiny top. 

“Not purposefully trying to show off my LA Kings shirt,” he said. 

Despite his shy demeanor and minimal movement around the stage, Casablancas’ unsuspecting comedic breaks and incredible vocal range left nothing to be desired. Compiled with electrifying guitar riffs and bass solos, The Strokes as a live band resembled celebrated rockstars of the past. At the same time, they exhibited a refreshingly modern sound and message for rock enthusiasts today. 

Fans were in for a treat as legendary tracks like “Is This It,” “Hard to Explain” and “Reptilia” played one after another, leaving the audience with little room to recuperate as they sang every word to each song at the top of their lungs. 

But, before the band performed its most recognizable song, “Last Nite,” to end its main set, it played one of their new songs, “Ode to the Mets,” a track that resonates now more than ever because of its melancholy symbolism surrounding the end of an era. 

“The old ways at the bottom of / The ocean now has swallowed / The only thing that’s left is us / So pardon the silence that you’re hearing,” sang Casablancas, his delicate falsetto perhaps signaling fans to look toward the future as a past of concert cancellations is forgotten. 

To cap their performance, The Strokes chose “New York City Cops,” one of the band’s older, early 2000’s songs. Casablancas shouted, “[Los Angeles Police Department] too!” in the middle of the lively song’s lyrics, “New York City Cops, but they ain’t too smart.”

As if paying homage to and embracing the return of the “rock show,” the floor of the venue finished off the night with one hell of a mosh pit. And, as the band exited the stage without one final word, The Strokes left the crowd to bask in the reverb of thrown-down guitars and the fading cheers of awestruck fans.