Tokyo Police Club is reflecting on the past two decades of music with one final tour.

The band – consisting of Dave Monks, Graham Wright, Greg Alsop and Josh Hook – was formed in Ontario, Canada. The group was founded in 2005 and released their debut LP “Elephant Shell” in 2008, advancing their career with performances at events such as Coachella and Lollapalooza, as well as a feature in “Desperate Housewives.” Tokyo Police Club will be performing in Los Angeles for the final time as part of their farewell tour Sept. 25 and 26 at The Regent Theater.

Guitarist Hook spoke with the Daily Bruin’s Isabella Appell about the band’s decision to disband and how Los Angeles has played a role in growing their music.

This interview has been edited for length and clarity.

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Daily Bruin: With your recent double single and final tour marking the end of an era, how do you believe this culmination reflects the journey of Tokyo Police Club over the past two decades?

Josh Hook: It was a weird time because we released our last full-length “TPC” in 2018, and then we all remember what happened in 2020 and the years that came after that, so it was an odd chunk of years that happened. Throughout that time, we started having the conversations about “where do we want this to go?” and the early rumblings of maybe we should take a break or call it quits. It culminated in 2022, 2023 when we decided, yes, we could be doing it, but it would be cool to release something final, something to mark it instead of just fading off into the background. We decided putting out a single of some music that we had been working on might be a nice thing to provide some closure, and then on that note, we were like, “Let’s do a final show” and bookend it that way. That final show, we underestimated the demand for it and it turned into a tour. That’s a perfect way to send it off, to go visit all of the markets we’ve been fortunate enough to go to and be there one last time.

DB: How has your relationship with your fans evolved over the years? Have you seen a lot of people who have grown up with your music?

JH: I think we’ve been really fortunate. To have a career playing music or doing any sort of art that is also then sustainable is such a privilege, and that honestly wouldn’t happen without fans and going to shows. It sounds so cheesy, but it’s absolutely true. There’ll be one person where it’s just like, “Oh I saw you back in 2006 at the university when I was a freshman.” Even hearing the new fans is what blows me away, that this is their first Tokyo Police Club show. I think something I wasn’t anticipating on this tour was building that connection with a new generation of people that just discovered us on a playlist somewhere and have never been to a show before.

It’s such a humbling thing. People share very personal moments and how the band and the music helps them get through something. It’s really humbling to be a part of somebody’s life in such a deeply personal way and to have been there while they were struggling with something. For them to rely on it, it’s probably one of the best feelings that you can get from being in the arts. Having it resonate with someone so deeply, whether that’s the fans that have been coming since they were 12 years old, or in high school or new fans that discovered it just because it was in a video game. It’s such a cool, wide spectrum that brings everybody in.

DB: Are there any specific songs that fans have recently resonated the most with and requested you play on tour?

JH: On this one, we started playing a few off of “Elephant Shell.” Before we would only play “Your English Is Good” and “Tessellate,” so we started playing “Centennial,” “In A Cave” and “Graves” after some people requested it. It’s been nice to do these chunks from different albums and to give that record, our first full length record, a little bit more time in the spotlight.

DB: As you conclude this chapter with your final tour, do you have any thoughts on the future of music in general and your specific place within it? Are there any directions you’re interested in exploring, either individually or collectively?

JH: We’ve gone through, at least to us, a few different styles, and I think for anybody continuing music that’ll only continue. You make something that sounds like the last record, you wonder where’s your progress developing as an artist and a creative. Always making decisions that maybe aren’t safe is thrilling both creatively and kind of fun to go out on a limb every once in a while.

I know there’s still going to be music for all of us, and there are other creative projects that have come up. Graham and I are starting up a podcast that talks to other bands and what it was like to release their first record on major labels. Stories from within the music industry are always of interest to us, and hopefully they’ll be of interest to listeners. Greg wrote the theme music for it, so we’re always going to be in each other’s orbits.

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DB: Los Angeles has been a significant place in your career with appearances on major stages and TV shows. In what ways has the city influenced your music and journey as a band?

JH: LA has really been a home away from home, not only for early friendships that we still have to this day there, but the shows, for whatever reason, have always been one of those dates on the tour you look forward to. It goes back to a show we played at the Hammer Museum, and I remember that one blew us all away. There was a line around the block with many people there, more than we thought there should be.

There’s so much energy and so much appreciation and support for the band. That far away from Toronto, you’re just kind of like, “Wow this is cool, it’s resonating down here.” LA, in addition to being my actual home, has always felt like a home away from home for the band, and getting to play two shows there, and San Francisco, Santa Ana and San Diego, the whole California experience, has always been really really fun for us.