The Strokes' new album is dividing critics: a great album or a baffling piece of work?

On November 8, 2025, just after the final notes of their performance faded into the night air at the City Business Complex, Roberto “Mono” Parra, director of the Fauna Primavera music festival, began envisioning the 2026 edition. Among the names he had long hoped to see on the lineup was The Strokes, the New York-based band whose influence has spanned decades. “As soon as the 2025 edition ended, we started working on the 2026 plans,” Parra told Culto. “Even before knowing they were releasing a new album, we always dreamed of having them as a headliner.” His efforts culminated in April, when The Strokes officially announced Reality Awaits, their latest studio effort. “When we learned about the release, we knew they would want to showcase it,” Parra added. “It made sense for them to perform at a festival like Fauna Primavera, which caters specifically to fans who appreciate The Strokes.” Set to take place on November 27, the festival will mark the band’s fourth appearance in Chile, with Reality Awaits serving as the centerpiece of their set. Their return coincides with a period of renewed activity, including their participation in Coachella, where they incorporated visuals referencing former Chilean president Salvador Allende during their performance of Oblivious. The imagery included the phrase “Derrocado por la CIA en 1973,” a nod to the political turmoil of the late 20th century. This artistic choice aligns with Julian Casablancas’ recent public stance against established norms. His critical perspective permeates Reality Awaits, particularly in tracks such as Going Shopping, where he critiques consumerism through lines like “We’ve been expanding our greatness / Building future ruins / We’re building castles with the bones of dead trees.” Similarly, Going to Babble On captures a sense of disillusionment, questioning whether anyone truly wants to know what is happening. For Francisco “Pancho” Reinoso, a music editor at radio station Sonar, these moments represent key points in the album’s narrative. “The album has a retro feel reminiscent of The Strokes’ earlier work, especially the melodies crafted by their guitarists in Is This It,” Reinoso explained. “And this track shows that kind of political disengagement that Julian Casablancas, above all, and the band have expressed over time.” Reactions to Reality Awaits have been mixed. While some critics praised its bold experimentation, others found it confusing or alienating. Rolling Stone described the album as “at times entertaining, often inscrutable, and occasionally outright strange.” In contrast, The Guardian gave it four stars out of five, calling it a blend of Julian Casablancas’ eccentric solo projects and the band’s knack for minimalist pop. NME awarded three stars, noting that the album “whether hinting at something or diving into the bizarre and wondrous, sounds more alive and cohesive than ever twenty-five years after their debut.” Produced by legendary producer Rick Rubin, Reality Awaits balances experimental elements with the core identity of The Strokes. Reinoso believes the album is both innovative and true to the band’s essence. “I think this is an experimental record, yet it doesn’t lose the spirit of the group,” he said. “In my view, there are at least three or four potential singles that could help the band rejuvenate, much like how other successful acts have done. I believe this is one of their best works in quite some time.” The band’s upcoming performance at Fauna Primavera promises to be a defining moment in their ongoing evolution, blending past influences with contemporary themes. As the festival approaches, anticipation grows among fans eager to witness how The Strokes will translate their latest creative vision into live sound.