After watching The National perform at The Riverstage (27 February) I’ve made the indisputable decision that all fans MUST see the band live. Here’s why.
Track one of their 2017 record ‘Sleep Well Beast’ started the set slow but strong. ‘Nobody Else Will Be There’ was next easing into the album’s shining single ‘The System Only Dreams In Total Darkness’, followed by ‘Walk It Back’ and ‘Guilty Party’.
While some may consider it controversial to boycott long-term fan favourites and set the precedent with four new songs, even amid their almost 20-year career, these tracks have already, palpably, made a lasting impact on listeners.
Recognition quivered through the crowd, many reciting the lyrics back-to-back, each track seemingly cemented (particularly the starting two) as discography heavyweights among the band’s enormous catalogue.
Vocalist Matt Berninger spoke to the laughing audience: “We hung out with some koalas today. They’ve got it f*#$ing figured out. Spirit animal. Put me in a good mood.”
‘Don’t Swallow The Cap’ emerged, faultless in my eyes, though still, Matt joked: “I’m sorry the band messed up on that one. They’re a little jet-lagged.”
2007’s ‘Squalor Victoria’ was short though passionate and intense, Matt’s hurling of the microphone stand to the ground contributing to the emotional build up of 2013 favourite, ‘I Need My Girl’.
‘Awws’ echoed from the audience as the guitarist began to strum the recognisable riff; the band stood still and performed without bells and whistles, letting the song speak for itself.
“It’s another one!” I heard a crowd member exclaim as ‘This Is The Last Time’ began; ‘Green Gloves’ settled the gig’s excitable sentiments into a comfortable lull. “I’ll admit, I’ve smoked a lot of weed and I can’t stop looking at that nachos sign,” Matt chuckled, the band adding: “That’s why he messed up on that one. He really like nachos.”
The National breezed through a handful of classics that admittedly sounded a little less cohesive, though ‘Sleep Well Beast’s ‘Turtleneck’ was tight.
The stage became obscured by dim light and fog during ‘Slow Show’, before Matt quietly announced “This is for my wife,” prior to ‘Carin At The Liquor Store’.
He soaked up his rights as a rock star during powerful number ‘Day I Die’, running up and down the stage rewarding fans by grabbing hands. They cheered wildly as the pianist tinkled the introduction of ‘Fake Empire’, perhaps more so as final song ‘About Today’ surfaced.
Hand on heart, Matt simply said “thank you” as he exited, though encore anticipation was cleverly built by the drummers, who remained. They belted out a synchronised percussion duet before The National returned to the stage with ‘Pink Rabbits’.
Everything seemed part of the plan during 2005’s ‘Mr November’ though, in an unexpected instant, Matt dived into the crowd and simultaneously sung and pushed his way through the mob of stunned onlookers.
Like a puppet held by strings, his microphone cord kept him attached to the stage though there was certainly no puppeteer; fans held the cord above their heads in an alternative crowd surf, where instead of lifting him, they cleared a path.
Once Matt had returned to his post safe and sound the band performed an emotion-drenched ‘Terrible Love’; they closed the two-hour set by executing a beautiful acoustic rendition of ‘Vanderlyle Crybaby Geeks’, the crowd an accompanying choir.
The reasons The National’s live show has been propelled into my must-see list quite simply starts with Matt Berninger’s vocals. While I find listening to the band’s recordings to be soothing, watching him perform spurred on totally different sentiments.
He’s truly a man of contradictions, voice is powerful, though seems so effortlessly exerted. He paces around the stage while not singing, but rather than coming off as disinterested, he looks absorbed.
During recordings, he holds his words within control though on stage he often let’s go, even screaming some songs, rather than singing. The live set also dramatically emphasises each track’s strength, whether it be lyrical or instrumental.
‘Sleep Well Beast’ is clearly centred around its sound, integrating intricate musical elements, whereas earlier releases (‘Alligator’, for example) are instead stronger storytellers.
This show brilliantly utilises the element of surprise, stemming from an assorted set list mixed with old, new, well-known and less-recognised; the wind instruments are particularly loud and particularly beautiful, an important asset in most of the songs.
The band manages to sound raw, sometimes improvised, without being unrehearsed; the music is deeply tender, without being self-indulgent; stage lights aren’t overused, nor blindly illuminating without careful thought or purpose.
Most importantly, the band is clearly improving with each album, repeatedly reaching new heights in their career.
If/ when The National tours again in future, I’ve made the indisputable decision that all fans MUST see the band live. That’s why.
