The National

@ The Fillmore at The TLA - Philadelphia, PA
9/4/07

Music critics have tried desperately to coin a term that accurately describes lead singer Matt Berninger’s voice, comparing it to whiskey, silk, and even chocolate. I won’t wallow in cheap metaphors here, but I will say that at first listen, Berninger’s voice is effortless enough to convince you that you could easily stand in as the front man. And then comes the day when the windows are down in your car and you’re singing along with Berninger note for note. That’s when you realize that even if you had a stronger voice or a more dynamic range than him, you’d never match the soulfulness and longing in his voice. It is this seductive melancholy coupled with the band’s rich songwriting which elevates The National above many of their contemporaries. You can call it whiskey, chocolate, marmalade, or rusty rawhide if you want to, so long as you call it what it is: wholly original and invigorating rock music.

Taking the stage at The TLA in Philadelphia on September 4th, The National opened with “Start a War” from their latest (and greatest) album, “Boxer.” The song begins slowly with a simple guitar melody and soothing vocals. Slowly, layer after musical layer is added until Berninger stands aside as violins, keyboards, drums, and guitars pound out the song’s thunderous refrain. Then it stops. The crowd is silent. A moment later, they respond with enthusiastic applause, wondering how they were tricked into such a rocking experience by such an innocuous opening. This sets the tone for the night as every song starts with little more than an instrumental hum before escalating into an all-out musical assault.

So far, you might think The National is a straight-up rock outfit replete with nothing but fist-pumping anthems. To the contrary, their true bread and butter are songs of a slower variety. Slow songs can crush the momentum of even some of the best rock concerts. To The National’s credit, they keep the momentum going strong even as the beat slows down. Their live renditions of “All the Wine” and “Fake Empire” prove this point beyond a doubt as they invite the audience into an even more intimate level. The lyrics of The National never paint a full picture of events or tell a cohesive story. Instead, they string together a collection of intensely visual details that serve as an abstract account of the song’s true meaning. This lyrically surrealistic landscape allows the listener to project their own hopes, fears, and experiences onto the song, effectively turning it into a uniquely personal experience. Like good literature, the atmosphere and emotional power of these lyrics spring from their deceptive simplicity. With just a few lines, The National can convey more than most bands can manage with a whole song. These lyrics take center stage during The National’s slower songs and allow the band to continue connecting with audience even while the music plays it mellow.

Their set list at the TLA balances songs from their last two studio albums with only two earlier songs thrown in to appease their diehard fans. The one song, “Wasp Nest,” is to appease the bartender working in the back of the room, identified as “Bill,” who has apparently been serving drinks to the band since their early days playing in Brooklyn nightclubs. A few songs into the set, Berninger lets us know that he’s fighting off a sore throat and jokingly promises that if they sound different, they’re “not taking a new direction…it’s just the Robitussin.” Aside from a few coughing fits between songs, you would never guess that he is feeling under the weather. The main set consists of 15 songs and ends with “Mr. November,” arguably their best song to date. It’s the perfect example of The National’s songwriting ability: juxtaposing melancholic verses with a hard-hitting chorus that has the crowd shaking with excitement. The intensity increases to a manic pace; the drums pounding in short staccato bursts and the guitar chords washing over Berninger’s smooth vocals. Then it’s done. The crowd erupts in applause as the band thanks them and walks off the stage.

After what seems to be a 30 second break, The National returns to the stage and kicks off their encore with the rocker “Abel.” Just before the song starts up, Berninger makes a passing remark that this one will definitely put his already-throbbing vocal chords to the test. He isn’t lying. By the time the anthemic chorus kicks in, Berninger is doubled over in pain, straining every muscle as he proclaims the line “my mind’s not right” over and over. Arms wrapped under his stomach and his head by his knees, he pours everything he has left into his words. The band follows his lead, pushing their instruments to the breaking point. By the time the din dies down and the controlled chaos clears for their final song “About Today”, The National have successfully converted every audience member into an awe-struck believer.

By Neal Tyler

The National's "Fake Empire" on YouTube:


FULL SETLIST:
Start a War
Mistaken for Strangers
Secret Meeting
Brainy
Baby We’ll Be Fine
Slow Show
Lit Up
Squalor Victoria
Racing Like a Pro
Wasp Nest
All the Wine
Apartment Story
Soho Riots
Fake Empire
Mr. November
(ENCORE)
Abel
About Today

The National on:
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