The Strokes : St. Andrew's Hall - Detroit

Critics still pontificating that rock is dead? Well, Detroit'll have none of it. This evening's Strokes performance is their first headlining gig in the Motor City and it's as if Detroit has all but forgotten about their cherished White Stripes if for just one evening. Rarely does buzz travel so fast in this town but this time even indie gods Superchunk are echoing their Strokes-related sentiments at a show halfway across the city. The crowd swell of this very sold-out affair no doubt surpasses that of - White Stripes' Detroit show just two weeks prior.

After a rousing set from Detroit's Witches who Julian Casablancas later declares to be "Really fuckin' cool dudes," The Strokes approach the stage and dive into a brilliant 'Take It Or Leave It'.

They're consistently dead-on as they attack 'Last Nite', 'Alone Together' and the throbbing, bass-driven 'Is This It?'. Mop-topped Albert Hammond Jr shreds his fingers to the nubs on his pearly white Stratocaster while Nick Valensi and Nikolai Fraiture do their best to keep up the non-stop pounding rhythm. Hardly veering from the album versions of the songs, the band never lets self-indulgent guitar wankery get the best of them, even when they know they can.

They launch into 'New York City Cops' with a vengeance, almost as if to say fuck record labels and fuck political correctness. Casablancas practically swallows his mic as he screams the Morrissey-esque "New York City Cops/Ain't to smaah-aaht" chorus. A flurry of fists that could only be matched by a Judas Priest concert pump in unison.

Tonight The Strokes demonstrate complete synergy and paired with their genius for catchy pop, they are impeccable. To this jaded Detroit crowd, hype has never been worth more before. The White who?

In the live setting, 'The Modern Age' comes across the way it should, without the nasal Lou Reed overtones. It's invigorating to hear Casablancas' voice come out from behind the wall of studio effects as it's truly a strong and dominant one. After 'Someday', 'Barely Legal', 'Soma', and their newest unreleased 'Meet Me In The Bathroom', the band reach the end of their 13-song repertoire and stop to wait for chaotic applause. Very New York, indeed. Soak it in, guys. Once you've conquered Detroit, it's all plain sailing from here.

Ken Taylor