Playing their first Madison Square Garden performance in 11 years on Saturday night, Interpol certainly didn’t disappoint.

Kicking off the night was Snail Mail, led by singer-songwriter Lindsey Jordan. She cleverly nodded to the fortunate position she was in playing one of the most iconic venues in the world after only forming her project in 2015 when she told the audience to come back and see Snail Mail, “just probably not here.” That’s not to say she wasn’t deserving of the spot. Playing hits off her 2018 debut album, Lush, including Speaking Terms, even those in the audience who may not have previously heard of Snail Mail were enthralled. Snail Mail, and Jordan specifically, has a confidence that can be felt by anyone around and that certainly wasn’t lacking during this critical performance. For the up-and-coming star, perhaps this wasn’t the last time we’ll see Snail Mail atop the MSG stage.

Car Seat Headrest, the rising indie rockers from Seattle, poising to be this generation’s Strokes, played after Snail Mail, hyping the vibe just right for the anticipated headlining act of the evening. Interestingly enough, Car Seat Headrest could have showed Interpol up had they had more time. Debuting a new song, Can’t Cool Me Down, and ending their short set with a one-two punch of back-to-back hits off their praised LP, Teens of Denial, including Drunk Drivers/Killer Whales and Destroyed By Hippie Powers, the band dominated the stage and seemed to know exactly what they were doing. And Will Toledo (who even slightly resembles Julian Casablancas) was completely having a ball, rocking out and clearly basking in the MSG spotlight as fans on the ground sang along to “It doesn’t have to be like this/It doesn’t have to be like this.”

Of course, the final act, Interpol, dazzled the audience with florescent lighting, a disco ball and, most importantly, a solid set of fan favorites. It’s been 11 years since Interpol, the Manhattan natives that helped to define the indie rock scene in the aughts, played MSG so concert goers were rightfully eagerly awaiting their return. Leaning heavily off their critically acclaimed debut album, Turn on the Bright Lights, as well as follow-up LP, Antics, the group went through hits such as NYC, Slow Hands (the initial closer) and Obstacle I (the closer to the encore). Admittedly, noticeably missing was PDA off of Turn on the Bright Lights. Still, the performance was energetic and eclectic, and even managed to incorporate a noticeable vibe of the underground indie New York City scene of the 2000s that birthed this band.

Overall, the show was impressive and garnered a decently-packed stadium thanks to the clearly carefully curated lineup of acclaimed, or soon to be acclaimed, staples in the grunge alternative world.