This dual line-up was an extremely exciting prospect, and one not to be missed.
The National literally touch the highest echelons of the music industry, while Fleet Foxes are incredible and for me represent the absolute pinnacle of the American independent scene – both were supported by Sydney artist Annie Hamilton at The Riverstage in Brisbane (28 February).Formed in Brooklyn, NY, but hailing back further to country Ohio, The National are the headlining act. The band have released ten studio albums since the early 2000s, including two in the past twelve months.
Their music is often thought of as melancholy, but the quality is beautiful with huge effort put into production and in particular the visual impact – almost everything the band puts out in video in black and white, with an almost ethereal feel.
Elevation to the upper echelon of the US music scene came about with recent collaborations with Taylor Swift, particularly on the song 'Coney Island'. This came about as The National's guitarists, brothers Aaron and Brian Dessner, co-wrote and produced the song, with band members singing and playing on the track.
Fleet Foxes have been at the top of my own music listening for over ten years – their first self-titled album from 2008 is incredible, with such high quality music, and their subsequent three albums take this music to new heights (my personal favourite album is 'Crack-Up'). They're famous for their harmonies and instrumentation, but the songwriting is beautiful, and more than anything, it is all extremely original.
Annie Hamilton comes to the bill through a previous production arrangement with one of the Dessner brothers – the first album of local folk band Little May (for whom Hamilton played guitar) was recorded in New York almost a decade back. Expectations are high going into such a high quality line-up.
Annie Hamilton - image © Bill Prendergast
Hamilton came on for her solo set wearing a stunning set of bat wings, giving a gothic feel and immediately winning over the crowd with her stunning vocals and lovely understated guitar playing. Hamilton noted how lucky she was to be sharing the stage with one of her favourite bands.
As she moved through her set, there was a lovely style, where her fingerpicking on her Fender Jazzmaster could be heard over an underlying echo from the lower notes of the guitar. This effect was heard through a few of her songs, and really gave the impression that this was more than a solo act; I loved the rich sound.
Hamilton moved into 'Talk', the new single she had released earlier in the day. It was a beautiful song, with the shimmering echo effect again present. The audience really appreciated this song, and it will only cement her growing popularity.
We then launched into a 90-plus minute set from Fleet Foxes, who haven't played in Australia since 2018. Fleet Foxes really represent the best in US indie and folk music and did not disappoint!
Fleet Foxes - image © Bill Prendergast
The band opened with 'Sun Giant', from their second EP released in 2008. The piece is vocals only and of course the harmonies were stunning, the only non-vocal effect during the piece was a light and steady tapping of lead singer Robin Pecknold's palm on the mic as he sang.
'Sunblind', off their fourth and latest studio album 2020's 'Shore', was a beautiful follow-on. It's hard to find bad popular music where the trombone is used, and in this case it was sublime, something we head more of throughout the set as the understated brass section features in their music.
'Can I Believe You' was great, again off the fourth album. 'Your Protector' was given a beautiful introduction on the flute, and immediately the crowd knew what was coming.
The Foxes worked through some of their best known music; 'White Winter Hymnal' was also a highlight, as the vocals were met by the quiet introduction of the instrumentation – just stunning! 'Montezuma' was great, as Pecknold played the lovely yet intricate guitar work.
Fleet Foxes - image © Bill Prendergast
It was a great set, but there were two crowd favourites. 'Mykonos' is probably their best-known piece, and the crowd took off as those first guitar notes rang out. The second, obviously, was 'Blue Ridge Mountains'. This song seems to mean so much to so many people. The mandolin features and the light piano work as the song builds was again sublime, Pecknold's vocals were perfect as always.
The music constructed by these guys is incredible, the instrumentation subtle yet amazing, and they really must be seen.
The finale is the two-hour set from The National. Moving past their reputation as 'sad dads', which they are happy to recognise and play up to, the music is atmospheric and incredible.
The set kicks off with 'Eucalyptus' one of their most recent pieces. On the album, 2023's 'First Two Pages Of Frankenstein', I feel it's understated, but not tonight, it was a cracker. Right off the bat, lead singer Matt Berninger was moving around the stage, particularly getting up on the risers at the front of stage to be high above but literally right in front of the crowd.
The National moved through their well-known pieces performing 'Bloodbuzz Ohio' early in the set, one of their best-known pieces, and Berninger was lying on the floor at one point while singing, constantly on the move.
The National - image © Bill Prendergast
The crowd loved 'I Need My Girl' as soon as they heard the opening guitar picking, singing (screaming!) every single word – Aaron Dessner was getting some incredible feedback during the piece, as he had two guitars strapped on, one of which he was moving around dramatically, searching for the unusual feedback effects of the song.
A highlight for me throughout their set is drummer, Bryan Devendorf. He drives the music sensitively, but what stands out is his almost complete lack of body movement – the only movement we see is from the forearms down, with his wrists driving the beat; obviously not a recipe for loud bashing of drums, but something that fits in beautifully with the style of music of The National.
The band moved on to 'I'll Still Destroy You', one that they admittedly don’t play a lot, but that they love, and their affection for the song became apparent with the energy they put in. Devendorf started to become more animated, as the song was beautifully driven by he and his brother, Scott, on bass. 'Abel' is another less-understated piece, again beautifully driven by the intricate drumming.
The band worked through their best known music, and it was clearly apparent the crowd was fully engaged. 'Graceless' was the first time I noticed the use of cymbals in the drumming, as they came in after the stunning guitar introduction.
The National - image © Bill Prendergast
One of the two clear favourites for the evening followed, in the form of 'Fake Empire'. Piano was played by guitarist Aaron Dessner. 'Space Invader' closed out the main set, a super high-energy version, this last song building into a huge crescendo.
The band followed with a five-song encore, including the other crowd favourite, 'Mr November'. It's a great song, and as is often the case, featured Berninger on vocals walking through the crowd miles from the stage, with the crowd and his minders lifting the mic chord above their heads to ensure he was not lost (literally and in terms of not losing his vocals).
He loves being inside or a part of the crowd, and of course the punters love the proximity as he sings. It was done so well.
One final song, 'Vanderlye' bought things down a notch, with only two acoustic guitars and the entire band at the front of stage singing the piece, with equal volume to the audience. At 10pm exactly (to meet the venue's famed curfew), the two-hour, high-energy set wound up, leaving no-one disappointed.
More photos from the concert.
