awaits

The worldwide buzz is far from the norm, and certainly a far cry from the most recent league meeting between the duo on 22 March, 2002 – when goals from Scott Young, Peter Thorne and Danny Gabbidon earned the Bluebirds a 3-2 victory over the Red Dragons.

Just shy of 16,000 supporters were at Ninian Park on that occasion, and nearly double that amount will be in attendance at Cardiff City Stadium this time around, such is the anticipation for the fixture.

The game will also be beamed to fans around the world, particularly in North America where Wrexham have become a household name, thanks largely to the success of their Welcome to Wrexham documentary.

But current Cardiff head coach Barry-Murphy has zero interest in the fanfare brought to the party by the likes of Wrexham’s Hollywood owners Ryan Reynolds and Rob Mac.

Barry-Murphy’s focus lies solely on satisfying the demands of those wearing blue in the Welsh capital, along with those of the club’s Malaysian owner Vincent Tan.

“The people in North America aren’t relevant to me,” said the Irishman.

“With all due respect, the people of Cardiff are the only ones that matter to us.

“And obviously the people in Malaysia are your boss, so we’re trying to impress him always and play for the supporters.”

Wrexham’s growth, however, has been nigh-on impossible to ignore.

Denis Smith – Wrexham boss for that 3-2 loss in the Welsh capital more than two decades ago – says having a team of the Red Dragons’ stature in the north of the country is vital.

“I understand the feeling for football in and around that area,” the 78-year-old said on BBC Radio Wales Sport.

“I had a great time there. I was there for five years. While I was there, we won things and got promotion, but we also had the problems.

“I was daft enough to go on the board so it cost me a lot of money, but it’s a great football club.

“The area wants football, Wales needs a club of Wrexham’s size in north Wales.”

Twenty-five years after “Is This It,” the Strokes are as big as they’ve ever been — and not just among old heads eager to relive the wasted glamour of the early-2000s garage rock revival. Go to a Strokes gig these days — they’re playing arenas and headlining festivals like next month’s Just Like Heaven in Pasadena — and you’ll find teens and twentysomethings in the audience; open up Instagram and there’s frontman Julian Casablancas dispensing viral hot takes on the New York City subway. On Spotify, the band’s most-streamed song isn’t the Giuliani-era “Last Nite” but “The Adults Are Talking,” which came out at the beginning of the COVID-19 pandemic — a feat of cultural endurance unmatched by any of the Strokes’ Gen X or millennial peers.

So what better time to drop a new album full of arcane jokes, baffling vocal affects and light conspiracy theorizing?

The group’s first LP since 2020’s Grammy-winning “The New Abnormal,” “Reality Awaits” is easily the nuttiest entry in the Strokes’ catalog, with a spooky opening track, “Psycho S—,” in which Casablancas, his voice slathered in AutoTune, ushers the listener “past the hall of judging dead into the bed of nightly dread.” (Sexy!) “Falling Out of Love” is a lilting robo-country ballad about dancing alone under acid rain; “Liar’s Remorse” is a voice-and-guitar lament about submitting to artificial intelligence that Casablancas croons for some reason in a terrible Caribbean accent.

Then there’s “Lonely in the Future,” in which Casablancas name-drops John Legend and Josh Groban, appears to ding Harry Styles for cribbing the beat from the Strokes’ “Hard to Explain” and informs Anthony Fantano, the popular internet music critic, that he “would not recognize art in any age.”

Philosophically, “Reality Awaits” feels less like a Strokes album than like a Casablancas solo record or an effort by his other band, the Voidz, which he’s used for the last decade or so as a kind of finsta for his harder-edged sociopolitical musings. “Going Shopping,” the LP’s lead single, casts a condescending eye on anyone insufficiently troubled by what the singer views as the creeping tyranny of a super-rich ruling class: “The worse reality gets, the less you want to hear about it / Solidarity can be difficult when you got cool stuff to lose.” That “Going Shopping” is the album’s jauntiest cut — with a music video that restages Paul Simon’s “You Can Call Me Al,” no less — only sharpens the critique.

Yet every now and then the Strokes, who absolutely ripped at Coachella in April, lock into a groove with the springy precision that’s been the band’s signature since the beginning. “Dine N’ Dash,” “Going to Babble On,” “Lonely in the Future” — it’s pure pleasure to hear the guitars in these songs slashing away over a rhythm section as crisp and nimble as this one. For all they’ve absorbed from their forbears, the Strokes don’t sound like anybody else, even when they seem to be trying to, as in “The Fruits of Conquest,” which suggests early Maroon 5 having a go at the Rolling Stones’ “Miss You.” (Obviously, I mean this as a compliment.)

You can view the indelibility of the Strokes’ style as the reason the band makes so many wacky decisions on “Reality Awaits”; looked at differently, the band is taking advantage of its persistent success to spend a bit of creative capital. Either way, Casablancas doesn’t actually seem worried at all in “Going Shopping” when he voices some anxiety about how long he can continue to matter. “I’ve been thinking about what I want to say,” he sings, “But I’m an old man now — at least that’s what they tell me anyway.”