The National do it their way

The National originate from Ohio. They are made up of vocalist Matt Berninger who fronts two pairs of brothers: Aaron (guitar, bass, piano) and Bryce Dessner (guitar); and Scott (bass, guitar) and Bryan Devendorf (drums). Collectively they continue to create the most enigmatic, hermetic and beautifully absorbing music. In my opinion they are currently the most exceptional band in the world and this evening I am privileged to witness their completing a trio of sold out nights at Brixton Academy.

Such fanatical sentiment in regard to The National is not new. Indeed, while many were already professed devotees, this band first sucked me in 2009 during the post-Boxer era. This alluring LP had already propelled The National into the lime light, with the Democrats campaign adopting the record’s signature track ‘Fake Empire’ as they headed for the White House.

Soon after my first looped listens of Boxer I would discover that The National’s own rise did not quite match the majestic nature of Mr Obama’s 2009 ascent. The early stages of their journey included gigs supporting high school bands and numerous occasions where the towel was nearly thrown in. Thankfully, they persevered, spurred on by a dogged belief that their way is the best way, seamlessly alternating between low-fi garage rock and orchestral arrangements with sublime brass and strings. Their obsessive and perfectionist tendencies in recording has ensured each of their 5 records has evolved from its predecessor, permitting them to slowly build a cult following, much in the mould of an early R.E.M.

The 5,000 in attendance this evening ardently welcome the five-piece. In the nervous excitement emanating from both the band and the crowd it takes about 3 songs for things to settle and the band to find their groove. Beringer prowls around the band, slapping his thighs in a trance-like state in between compelling the crowd with one of the great modern day baritones. The Dessners’ and Devendorfs’ hit sweet spots in their rhythms and guitar licks, all backed up with melodic keys and elegant brass. This evening The National are poetic and heartfelt but never pretentious or self-indulgent. Their banter is humble and humorous; the music ornate and sublime.

The National are poetic and heartfelt but never pretentious or self-indulgent

Iconic front men channel the genius and spirit of seminal bands, Thom Yorke, Michael Stipe, Robert Smith et al. all uniquely embody the essence of the music they front. Similarly, Beringer is the perfect outlet for The National’s distinct and textured take on alternative rock music. It is difficult to take my eyes of Beringer; his frenetic movements and calm swigs of lager keep you on edge, but it is the articulate and oblique lyrics, made increasing poignant by his deep register, that keep you hooked. In the band’s beginning, Beringer was often inappropriately labelled as a one-trick bar stool poet; a decade later he is now celebrated as perhaps one of the finest wordsmiths of this generation. Ironically, some of his best narratives come in the songs most explicitly about drinking such as fan favourites Slow Show and All The Wine, both warmly received by the crowd this evening.

The National perform a Jekyll and Hyde setlist this evening. The explosive and aggressive Abel is impressively delivered with Beringer ferociously screaming My Mind’s Not Right. This contrasts to the delicate finger picking of the Green Gloves which follows, with Beringer serenely lamenting, “falling out of touch with all my friends are somewhere getting wasted, hope they’re staying glued together, I have arms for them”. Squalor Victoria and Sorrow expose their dark and pensive side, whereas the infectious and melodic Lemonworld has a dream-like element.

Upon returning from their "theatrical tea break" as Beringer wryly puts it, The National deliver a memorable encore. The anthemic Mr November and Terrible Love are played in a whirlwind and epic manner respectively, but is the closer Vanderlye Crybaby Geeks which makes the evening special. They perform the song Unplugged, encouraging all to join in the cry of "all the very best of us, string ourselves up for love", it is an immensely uplifting ending.

Just as Arcade Fire have recently manage to sell out big arenas whilst maintaining their artistic integrity, The National are reaching a wider audience but doing it all on their own terms.