The National, Wellington NZ, 2024

The National

25th February 2024
TSB Arena, Wellington, New Zealand.

Reviewed by Tim Gruar. Photography by Nick George.

Ohio’s favourite sons, The National, are one of the jewels in the crown of this year’s Aotearoa Festival of the Arts. A band with wide appeal, yet unique enough to be both a pop sensation and a cerebral challenge.

After a hiatus that seems like for ever they finally returned to our shores. Actually, it was six years ago. But as we all know, the shit load of stuff has gone on since then. This was the first time the ‘Sad Dads’ have played Te Whanganui a tara. But it was tonight that they chose to make it their memorable debut.

Formed in Brooklyn, NYC back in 1999 (God, that’s so long ago!) they are, and always have been, Matt Berninger (vocals), the twins Aaron Dessner (guitar, piano, keyboards) and Bryce Dessner (guitar, piano, keyboards) and brothers Scott Devendorf (bass) and Bryan Devendorf (drums).

For fans and casual listeners alike they’ve been a constant because their work is damn relevant: the international anxieties of the last five years: emotional stresses, fucking COVID isolation, the decay of American politics, the Big Orange Baby, general chaos and mundanity – all the usual suspects of modern-day angst. Wrapped in big glittering anthems of accessible melancholia. The National elevate those banal everyday kitchen sink dramas and self-imposed brain theatrics to Shakespearean heights and then plasters them all over stadium walls!

Being honest, too The National have really put it out there, documenting their own journeys through the pandemic and Matt Berninger’s own mental heath and relationship issues. He also suffered from writer’s block and that threw a spanner into it. And then, like a burst in the dam, the explosion of creativity. It all came out, in not one, but two new albums – last year’s ‘First Two Pages Of Frankenstein’ and ‘Laugh Track’.

Tonight was a bit of a punt for the Festival. Pulling off a 5000 pax gig when the rest of your events are more, shall we say, niche and nuanced, is always a risk. In past years the Festival has put effort into large scale public events on the water front or in public spaces. One year they had a free show with Laurie Anderson performing to a sizable selection of the Capital’s canine population. Calexico celebrated their ‘Feast Of Wire’ album here (and they’ve returned to play a significant anniversary the release of the very same). Another time alt-rock bands like The New Pornographers and Neko Case pulled in the crowds. But this evening’s gamble is one of the biggest I’ve seen to date. Given the mix of older and newer punters, Mums, those on date nights, hard core fans, and sad Dads (like myself) it was a roll of the dice that seems to have paid off.

Pretty gutsy, given Poneke has bugger-all decent sized venues for stuff like this. Many aren’t really, truly fit for purpose like those in Tamaki Makaurau. But we do our best. Can we really get a band that makes grand verbose grand sweeping sound statements good in a netball stadium?

Welcome to the ‘barn’, lads. Well, that’s what Jewel once called the TSB Arena. Apparently, back in the day, the band’s output reflected off the back was so badly that one of the Gallaghers was driven to storming off stage mid set, waving his wallet and pledging to buy the whole damn place and shut it down because it was interfering with his fold back. One of the many last straws for Oasis on that tour. Well, that’s what I’ve heard.

No such problems tonight, though. With a band such as the National, you need a space that can cope. Because they are capable of soaring spectacular sonic heights – their sound forcing its way in to every nook and cranny, beyond the catwalks, behind the air con pipes and up to the felt buffers on the very top rafters.

Good equipment and great sound engineers to the rescue!

Some purists might have some trouble with the nuance that comes with a National album. The overall audibility was a bit harsher. The inclusion of that Calexico-style brass, for instance, is more melded-in on wax and Berninger’s vocals have got deeper and darker over the years. He was a bit more shouty tonight, though. That back wall created a bit of flack-reverb, which was more apparent if you were right up near the sound desk but for those in the centre and the sides, I think that was minimal. If there was a message I could give to the venue – buy some large velvet blacks for the back wall to muffle up the sound!

But before we got there, indie gods (with feet of clay) the beths (yes, lower case) took the stage with a well received cache of material from their ever expanding and well road-tested repertoire.

“We’re so happy to be back to one of our favourite place to play,” announces lead and vocalist Elizabeth Stokes. Yeah, right. Bet she says that to all the crowds! And they’ve seen a fair few over the last year, having completed a huge multi date tour of the USA, “Since we played here last we’ve played over 20 shows. Hopefully, we are a bit better now.” Oh, yes, people. They were. Blasting through favs like ‘Future Me Hates Me and ‘Jump Rope Gazers’ alongside future classics including the melodic drifter ‘Watching The Credits’, the cringing ‘Dying To Believe’ and the super grungy ‘Silence Is Golden’. They are all on point, with a clean, confident indie sound and some pretty effortless, but impressive, guitar breaks from both Stokes and Jonathan Pearce, supported by the very able skills of bassist Benjamin Sinclair and drummer Tristan Deck. I also enjoyed their ‘Kiwi-As’ approach – all shorts, jandals and ‘Gudday, mates’. A perfect easing in for the intensity of the night ahead.

After, the drinks break we finally settle in. The National come on to some old style country music, strap up, and kick up. I’d read comments that the Auckland show was a little lack lustre at times, perhaps suffering from a bit of jet lag.

Not so, tonight. Berninger et al. came roaring out of the blocks like stallions on ecstasy with an exuberant and profound delivery of ‘Sea Of Love’ (from 2013’s ‘Trouble Will Find Me’) and an aching and desperate version of ‘Eucalyptus’ (last year’s ‘First Two Pages Of Frankenstein’).

It was a set list for the fans and novices alike. I can’t confess I knew every song but I soaked it up all the same. Of course, there was plenty more from the two new albums and their big hitter ‘Trouble Will Find Me’, as well. I think there was over 25 songs (I lost count, actually). And there’s a repertoire ranging from exquisite, delicate melancholy to overwhelming, punishing redemption – and every shade and colour in between.

Even though there was two new albums out, the band was not going to choose the usual template, just playing the singles, hits and a sprinkle of newbies. There were a few tried and true, of course like ‘Vanderlyle Crybaby Geeks’, ‘Fake Empire’, ‘Demons’, ‘Lit Up’ and ‘Cherry Tree’ – all gold from previous mining expeditions. ‘Deep End (Pauls In Pieces)’, and a blistering rendition of ‘Alien’ needed to be there. As did the ‘Space Invader’ which completes (almost) the encore with a devastating crescendo.

Summarising exactly why their cinematic, pulpit-meets-confessional-meets-shrink couch style is just so intoxicating is damn near impossible to capture on a page. You need to witness that first hand. But I can say it’s an intense, vibrant, often abstract sonic painting that’s splashed across your senses. OK. That barely covers the description.

In song they channel everything from dinky Americana to harsher post-punk. Post-punk melodrama is their weapon of choice for their – occasionally sweet, like ‘Tropic Morning News’, sometimes terse, angry, like tour fav ‘Bloodbuzz Ohio’ (from 2010’s ‘High Violet’) and often confronting such as ‘Squalor Victor’ (‘Boxer’ 2010).

Brothers Scott and Bryan Devendorf hold the line on every track with some dark energy from the engine room and volley after volley of spectacularly propulsive drumming. All the while the guitarist brothers Bryce and Aaron Dessner deliver fluid and understated brilliance that builds at times to complete and un-scalable walls of sound. They banter with Berninger’s occasional ‘drunk Dad’ ramblings about HBO Game Of Thrones parties and the shows sinister canine characters. A reference that was pretty much lost on everyone in the room except Berninger, potentially. Being the ‘stable adults’ the brothers do drop in a few lines for context, to help us all navigate this huge song-set. So vast it threatens to push out beyond the venue’s curfew. Trying engagement, they lead the audience handclaps and sing-along moments.

There were also plenty of Instagram moments, especially when Berninger sways precariously above the crowd on the monitors like a confused jumper on the edge of a building precipice. His dishevelled suit, white hair and glasses give off an embittered math teacher vibe. Yet, for real he’s more like a Javis Cocker lay preacher than a sad, single tweed jacket educator. He will often breach the crowd barrier and plunge head long into a sea of people dragging a roadie brandishing his mic cord with him. Back onstage a second roadie reels them both back in as if he’s landing a thrashing Marlin after a long fight.

Not since Wilco toured their self titled album in 2008 have I felt so elated and satisfied by the potential of any American band. ‘Fake Empire’ and ‘Terrible Love’ are absolute anthems, massive singalongs propelled by a floor of fans who know every single word.

It was also worth noting the deliberate MIA’s, such as ‘The Alcott’ (Ms Tay Tay was a little bit busy over the ditch thrilling her 80K capacity to have time to pop over here and do a duet this time). As was Bon Iver for ‘Weird Goodbyes’, Phoebe Bridges for ‘Laugh Track’ or Sufjan Stevens for ‘Once Upon A Poolside’ (although lucky Auckland got that one on their list). We did get the second Swiftie collab ‘Laugh Track’. So, that’s something.

Potentially, the greatest memories were created when Berninger and the front rows are hysterically singing back to each other, faces to face, defying the covid, in mutual celebration.

The purest respect comes at the very end when Berninger drops his mike and accompanied by just a single guitar leads the room in a word-perfect crowd-choral version of ‘Vanderlyle Crybaby Geeks’. I know the ‘un-mic’ trick is their party piece but it’s still pretty cool. The song is rounded off by some last entry brass and castanets provided by an invited three piece. That adds a slightly melancholic note to the evening’s proceedings.

This was my first time with The National. Looking around the room, it seemed everybody was happy. Some were also first timers. Nobody was disappointed. Plenty were talking about further listening, Berninger’s antics, and the power of the band. I think I’ll be doing the same. Thanks, National-ists, for dropping by. Hope to see you back again soon.

Were you there in Wellington for this brilliant alternative gig? Or have you seen The National perform live some other time? Tell us about it in the comments below!

Setlist:

1. Sea Of Love
2. Eucalyptus
3. Tropic Morning News
4. Squalor Victoria
5. Don’t Swallow The Cap
6. Bloodbuzz Ohio
7. The System Only Dreams in Total Darkness
8. I Need My Girl
9. This Is The Last Time
10. Lemonworld
11. Conversation 16
12. Lit Up
13. Cherry Tree
14. Alien
15. Deep End (Paul’s in Pieces)
16. Day I Die
17. Rylan
18. England
19. Graceless
20. Fake Empire
21. Mr November [encore]
22. Terrible Love [encore]
23. Space Invader [encore]
24. Laugh Track [encore]
25. Vanderlyle Crybaby Geeks [Played Un-mic’d] [encore]

_{Note: Ambient Light was provided a pass to review this concert. Photography was supplied. As always, this has not influenced the review in any way and the opinions expressed are those of Ambient Light’s only. This post contains an affiliate link. If you purchase a product using an affiliate link, Ambient Light will automatically receive a small commission at no cost to you.}

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