THE NATIONAL (Shepherd’s Bush Empire, 08/11/07)

To think a year ago I didn’t care for the National. Their cult hit Alligator, although loved by many of my peers, left me cold and it’s only since the release of the superb Boxer that I’ve learnt the tragic error of my ways. But it’s their quality as a live act that’s fully converted me from nay-sayer to fully paid-up fanboy.

Central to that is their vocalist Matt Berninger; his whisky-soaked baritone (tempered with a subtly sardonic tinge) the centrepiece of their beautifully melancholic odes to love and loss. His obvious awkwardness at playing the frontman manifests itself in a total absorption in his performance, providing an emotionally charged, almost uncomfortably intense experience. Balancing out the seriousness of Berninger is Padme Newsome, adding a dash of flamboyance to proceedings with his frantic violin contributions; the rest of the band are no less impressive, with Bryan Devendorf’s unshowy but technically stunning efforts on the drums particularly worthy of praise. The show itself was a marvel, a display of an act at the height of their powers- an unexpectedly generous setlist, Berninger on fine form (even cracking jokes!) and some simple but very effective light effects contributing to the enchanting atmosphere.

As my appreciation for Alligator grows, I found many of my highlights derived from that album, most notably Secret Meeting and a touching Daughters Of The Soho Riots. A subdued (if thoroughly respectful) audience meant that their out-and-out anthems Abel and Mr. November lacked the sheer euphoria of May’s Astoria show, but a number of more subtle treats (oldie Wasp’s Nest, Squalor Victoria, and personal favourite Apartment Story) compensated for the lack of vigour. But for me, the zenith of a night full of high-points was the glorious Fake Empire, unrecognisable from the underwhelming renditions of the shows earlier this year. Culminating in a swelling storm of intricate guitar and chaotic strings, they’ve stopped trying to recreate the interlocking syncopated rhythms of the original, and given it a simpler, but infinitely more satisfying conclusion. In a way, it’s symbolic of the band as a whole; a year of solid touring has honed their performance to perfection, with thoroughly sublime results. One of the most talented bands around, The National prove that in this world obsessed with image and glamour, there’s still a place for good, old-fashioned musicianship.

(Photo: Rhyca54 (Flickr))