The Strokes, Walton Goggins, and the Art of Subtle Rebellion
There’s something about The Strokes that feels perpetually unfinished. Even after decades in the game, their music retains this raw, almost defiant edge—like they’re still figuring it out, still pushing against something. Their latest music video for “Going Shopping” is no exception. But what makes this particularly fascinating is the unexpected pairing with Walton Goggins, an actor whose intensity and unpredictability seem to mirror the band’s own restless energy.
A Nod to the Past, A Jab at the Present
The video pays homage to Paul Simon’s iconic “You Can Call Me Al”—a choice that, on the surface, feels nostalgic. But The Strokes aren’t ones for straightforward nostalgia. By casting Goggins in the Chevy Chase role, they’re not just recreating a classic; they’re recontextualizing it. Goggins, with his brooding charisma, adds a layer of unease to the otherwise playful setup. It’s like they’re saying, “Remember the good old days? Well, here’s what they’ve become.”
What many people don’t realize is that this video is more than a visual treat—it’s a subtle act of rebellion. The dancing clowns, the flashing messages like “Worker on strike! (but alas, the news won’t show it)”—these aren’t just quirky details. They’re pointed critiques of modern capitalism and media silence. The Amazon delivery person returning with a “On Strike” sign? That’s not just a joke; it’s a statement. Julian Casablancas’ “Crime” T-shirt at Coachella? A clever riff on Amazon Prime, sure, but also a middle finger to corporate giants.
Why This Matters (And Why Most People Miss It)
Here’s the thing: The Strokes have always been masters of subtlety. Their music and visuals are packed with layers that you don’t fully grasp on the first listen or watch. This video is no different. It’s easy to get lost in the nostalgia of the Paul Simon reference or the charm of Goggins lip-syncing. But if you take a step back and think about it, the real story here is about power, resistance, and the ways we’re all complicit in systems we claim to hate.
Personally, I think this is where The Strokes shine brightest. They’re not just making music; they’re making statements. And they’re doing it in a way that feels organic, not preachy. It’s not about hitting you over the head with a message—it’s about planting a seed of thought that grows long after the song ends.
The Broader Implications: Art as a Mirror
This raises a deeper question: What is the role of art in an increasingly chaotic world? Is it enough to entertain, or should it challenge? The Strokes seem to believe it’s the latter. Their video isn’t just a marketing tool for their upcoming album, Reality Awaits; it’s a reflection of the world we live in. The clowns aren’t just dancing—they’re a metaphor for the absurdity of modern life. The strike references aren’t just clever—they’re a call to action.
A detail that I find especially interesting is the location of the shoot: Tenerife, a Spanish island off the coast of Morocco. It’s a place that feels both exotic and disconnected, much like the themes in the video. It’s as if The Strokes are saying, “Even in paradise, the problems of the world follow us.”
Looking Ahead: What This Really Suggests
If there’s one thing this video tells us, it’s that The Strokes aren’t slowing down. Their international tour, their delayed album release—these aren’t signs of a band past their prime. They’re signs of a band still evolving, still questioning, still relevant.
In my opinion, Reality Awaits could be their most politically charged work yet. The video for “Going Shopping” is just the tip of the iceberg. If the rest of the album is anything like this, we’re in for a raw, unflinching look at the world through The Strokes’ lens.
Final Thoughts: The Strokes’ Unending Relevance
What this really suggests is that The Strokes aren’t just a band—they’re a cultural force. They’ve always been ahead of the curve, and this video is proof that they’re still pushing boundaries. Walton Goggins’ involvement isn’t just a gimmick; it’s a perfect match of two entities that thrive on unpredictability.
As I reflect on this, I’m reminded of why I fell in love with The Strokes in the first place. They’re not afraid to be messy, to be imperfect, to be real. In a world of polished pop and safe statements, that’s more important than ever.
So, here’s my takeaway: Watch the video, but don’t just watch it—feel it. Listen to the album when it drops, but don’t just listen—think about it. The Strokes aren’t just giving us music; they’re giving us a mirror. And what we see in it is entirely up to us.
