The Strokes invaded Austin City Limits Festival Saturday night, opening their set with strobing extraterrestrial frequencies before appearing on stage.
The five-member band performed a 16-song supercluster from across their discography, starting with their No. 1 Billboard charting song “Bad Decisions.”
The track set the stage ablaze as smoke carried red light through the atmosphere. Guitarist Albert Hammond Jr. emerged wearing a band tee displaying The Velvet Underground frontman Lou Reed, who Hammond Jr. once said is one of his favorite guitarists.
With no pause, the group transitioned into “Reptilia,” a hit song off their 2003 album Room on Fire. Green lights flashed and spun on beat around frontman Julian Casablancas, but he remained planted center stage.
After a wailing guitar solo in “The Modern Age,” and “You Only Live Once” featuring audience sing-alongs, Casablancas turned to address the crowd.
“I think we have a better view than you to be honest,” Casablancas said. “Well thanks for giving us the nice view. That moon better get the fuck out of my face though.”
The audience chuckled, Casablancas not done with the bit.
“What are you looking at bro?” he yelled at the moon. “Sorry, I didn’t see you there, sir,” he said in lieu of the moon’s response.
With that, the band steered into a series of throwbacks including “Welcome to Japan,” “Under Control” and “Someday.” Songs like “Juicebox” played nearly identical to the studio release, but “Under Cover of Darkness” felt nostalgia-laced, as Casablancas sang in a voice much deeper and raspier than the original track.
Nearing the set’s end, the band performed “The Adults are Talking,” during which Casablancas referenced ChatGPT mid-song.
“No more askin’ questions or excuses,” Casablancas sang, “Except for ChatGPT — Information’s here!”
Two songs later, the band seemingly disappeared, but shortly returned for a two-song encore featuring tracks off their 2001 Is This It album: the title track and “Take It Or Leave It.”
While the show featured a balanced mix of songs from across their discography –– two songs from their latest album and 14 from the other four –– there was more to be desired visually. Aside from a lights show and repeated camera shots of the band members on screen, the show relied heavily on its sonic appeal –– which the group executed perfectly.
The last song’s final crashing notes morphed into the same distorted screeches that introduced the set, looming as the crowd dispersed.
