The National, Auckland NZ, 2018

The National 

25th February 2018
Villa Maria Estate, Auckland, New Zealand.

Review by Sarah Kidd.

A summer’s evening in Auckland; the gentle breeze swaying through the grape vines and the sky a placid shade of baby blue is all that was needed to create an emotional filled evening of music. Grammy Award winning band The National are back in town and the fans have turned out in their droves to bask in their melodious glow; the inviting rich green grass of the winery estate perfect for the laying of picnic rugs.

To ease the evening in, a little New Zealand flavouring in the form of the four piece Tiny Ruins. What once began as but a name for singer/songwriter Hollie Fullbrook’s solo work back in 2009 has now blossomed into the group we see before us tonight. With the sun displaying it’s prowess in the waning hours of the afternoon, there were a few hitches for Fullbrook as she tuned her guitar (who as she told the crowd was not appreciating the sun) between songs, both herself and bassist Cass Basil donning large rounded sunglasses during the set. But their joy at opening for The National was palpable, especially as Fullbrook spoke of her love for their third album Alligator released in 2005. Fans of Tiny Ruins were not only treated to a wonderful set that carried them through into the twilight hour; but they were also gifted a new song entitled ‘How Much’ which was followed up by the pleasingly delicate ‘She’ll be Coming Round’, both Fullbrook’s and Basil’s voices ascending over the estate. While not a high energy set, it has a beauty all of its own; both Freazy (aka Alex Freer) on drums and Tom Healy adding to the intricate fabric of their sound.

With The National due on stage at eight sharp, Villa Maria was now teeming with people, the sound of both laughter and excited chatter about their love for the band and anticipated set lists peppering the cool evening air. The broad appeal of The National is obvious judging by the crowd, various age ranges tumbling together; from parents having a rare school night out through to those in their twenties sporting the blazer and well-tailored bell bottom look. The more dedicated fans were already three, four deep against the barrier, watching for the first sign of life with large rounded eyes, ready and waiting to stumble into the emotional waves of The Nationals set.

As the stage came alive, lights and back screen projections working in harmony with well-placed smoke machines, the crowd burst out cheering, this moment something that many had waited for since the bands last appearance as headliners at the Auckland City Limits back in 2016. Formed in Cincinnati, Ohio in 1999, The National now have seven studio albums behind them, their latest ‘Sleep Well Beast’, finally nabbing them that Grammy for Best Alternative Music Album; an award they missed out on with their sixth album Trouble Will Find Me, losing to the Vampire Weekend.

Dressed in a black blazer, a matching shirt buttoned up to the neck as if to keep all those feelings close to his chest before the time called for them to be set free; lead vocalist Matt Berninger adjusted his thick rimmed glasses and pressed his bearded face to the microphone. From his lips was decanted a voice that was equally soothing as it was gravelly, the opening lines of ‘Nobody Else Will Be There’ hitting many square in the chest and causing others to reach out and take the hand of the loved one at their side. While there is no denying that The National’s music is often described by many as that in which you can wallow, both the sound and lyrics made for a cold wet Sunday afternoon where none can resist sifting through the memories of loves once lost; they can also bring about a barrage of visceral sonics to the forefront, a platform from which Berninger eviscerates himself, his vocals raspy and raw, pushed to the limit – and sometimes past – but made all the more evocative because he does so. Our first taste of Berninger’s darker side coming in the form of ‘The System Only Dreams In Total Darkness’.

The five piece who interestingly enough are made up of two sets of brothers, one set identical twins, are plumped out tonight with a couple of extra additions. A sea of black clad men on stage working as one magnificent beast that often appears to start off disjointed, the crackling of the intros melding with the static like coloured images projected behind them, before the pieces fit together like an ever-changing jigsaw, the satisfaction of the finished picture flowing through the soul as you sit back and admire it. With a bright lime green cap upon his head, like a beacon in dark waters, drummer Bryan Devendorf is like a centre point of focus as he folds out – at some points – rhythmical patterns throughout which his fellow band members stitch their threads.

The lighting and stage effects are breathtaking tonight, soft purple hues being replaced with knife edged white spotlights that cut through a velvet curtain of red for the punchier tracks. Rainbows of colour are mimicked in the visuals behind the band; the culmination of it all adding to the captivating element of the evening. Alone, dead centre, Berninger moves from cradling the microphone to conveying the songs meanings through hand movements; his intense gaze falling on the lucky in the first few rows. The songs are delivered quickly, little is said between them save for the occasional “Thanks, thank you” from Berninger himself. An early trio of ‘Don’t Swallow The Cap’, ‘Bloodbuzz Ohio’ and the wanton craze of ‘Squalor Victoria’ culminate in Berninger smiling at the audience “Thanks, thank you, we really love coming to your country, so thanks for having us” the fans response to this moment of humility, embracing in its love.

‘I Need My Girl’ unsurprisingly prompted a sing a long, but one that was almost in hushed tones to allow Berninger’s voice to shine through; several couples seizing the moment to either pull each other closer or slow dance in the shadows. “Thank you, this song is perfect for right now … fucking perfect!” Berninger announced with a grin; blazer off he clutched the mic as he delivered ‘All The Wine’, indeed a fitting song for the occasion. From the brilliance of ‘Empire Line’ off their latest release through to the satirical bite of “Turtleneck’, The National held the audience closely to them, raising their spirits and then dashing them against the high walled stage; but always with a hand around the wrist to ensure they are never lost. Highlights of a trumpet and trombone provided by Kyle Resnick and Ben Lanz mixed with heavy guitars, each placed throughout the set with both love and a sense of planned abandonment. While ‘Slow Show’ began with a violin bow played across the strings of Dessner’s guitar it soon led to more hectic displays, as Berninger descends into the pit to be closer with the fans during ‘Day I Die’, the squeals of excitement from his followers of the fairer sex able to be heard from the back of the winery. Pulling a classic Nick Cave move, Berninger precariously balanced atop the barrier, his arms wide as he took in all the faces turned upwards towards him. Sure there is some self-indulgence at play here, but it is yet another piece to the puzzle of this man’s makeup.

Finishing the set on ‘About Today’, Berninger addresses the crowd; “This is like a dream, it’s a vineyard, I look awesome, thanks for having us … this is special”. As the band filed off stage, the audience immediately began to demand more. With no pretences the band returned, fans relieved that their night is not quite over yet. ‘Lemonworld’ is followed by the rock n’ roll swagger of ‘Mr November’, while the delicious bass lines of ‘Terrible Love’ sees Berninger once again on the barrier, except this time he climbs straight over, immersing himself in the wall of human beings.

“Thank you so much … you guys can all help us” Berninger tells the crowd as they finish on the ever popular ‘Vanderlyle Crybaby Geeks’, the fans singing at full volume accompanied by nothing more than an acoustic guitar and some soft brass and tambourine. With his back to the fans, Berninger leaned against their outstretched hands; plucking a cell phone from a fan he sang into it, memories of a lifetime captured in digital space. In a testament of just how much The National means to those that follow them, the crowd continued to sing long after the band had made their way off stage. The now cool night air kissing their faces as they smiled at each other, united in their collective adoration.

As Berninger himself sang tonight,’ All the very best of us, string ourselves up for love’; judging by the elated faces leaving Villa Maria this evening, many would do so time and time again for their beloved.

Were you there at the stunning Villa Maria Estate for this brilliant post-punk alternative rock show? Or have you seen The National perform somewhere else before? Tell us about it in the comments below!

A HUGE thank you goes to Chris Zwaagdyk of ZED Pics for the feature image used in this review. Please check out Libel.co.nz for a full gallery of his beautiful images from this show.

Setlist:

1. Nobody Else Will Be There
2. The System Only Dreams In Total Darkness
3. Walk It Back
4. Guilty Party
5. Don’t Swallow The Cap
6. Bloodbuzz Ohio
7. Squalor Victoria
8. I Need My Girl
9. Wasp Nest
10. All The Wine
11. Conversation 16
12. Empire Line
13. Born To Beg
14. Turtleneck
15. Slow Show
16. Carin At The Liquor Store
17. Day I Die
18. Fake Empire
19. About Today
20. Lemonworld
21. Mr November [encore]
22. Terrible Love [encore]
23. Vanderlyle Crybaby Geeks [encore]

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