Interpol feverishly took over the Shrine Expo Hall on April 16, with their brand of bass-heavy New York City post-punk in what proved to be a terrific night of rock ‘n’ roll.

The NYC trio captivated a leather jacket clad Angelino crowd who were delighted with head bopper classics from the band’s catalog reminding more than one what made them indie darlings in the early 2000s.

The band relied heavily on tracks off their first two albums, a smart move considering their high ranking as instant rock ‘n’ roll classics of recent years.

Rare gems like “Untitled,” “Leif Erikson” and “The New” from their seminal 2002 album “Turn on the Bright Lights,” brought roars from stylish super fans.

Light explosions and high energy accompanied the breakdown in “The New,” a lullaby about commitment, which bulldozed into the expo hall with its catchy guitar riff and gigantic bass line.

The loud gritty bass that Interpol is known for radiated through the enormous sea of fans that shimmied and swayed their daily concerns away, a feat done without having to recur to synthesizers.

Nostalgia filled the Shrine when the band went into the melodious “NYC,” a colossal melancholy ‘I need to get out of this place’ ode to the gritty city streets.

The band got it right when they saved the latter track for the encore, the only place for a song of such caliber.

The set list greatly benefited from the trio doing away with any song from their forgotten 2010 self-titled replacing those with cuts off their recent effort, “El Pintor.”

Notably absent were “Obstacle 1,” “Obstacle 2” and “Heinrich’s Maneuver,” the first two being must hear tracks at Interpol shows.

Heard all around were confused groans from fans who were expecting to hear the groundbreaking singles that made the band famous, they waited for the lights to dim and hear the baritone voice of lead singer Paul Banks, but the lights shined on.

On the other side of the spectrum, Perfume Genius, the opening act, did little to excite an impatient crowd whose dissenting groans were heard each time a new song began.

The experimental Seattle based singer’s howls did nothing to impress the uninterested.

Interpol proved to be the only band that could transform the enormous Shrine Expo Hall into an energetic gritty mid-town New York City club for a night.