‘Rome’ Captures the National’s Amazing Live Show

When I discovered patriotism Sad songs for dirty lovers (2003), no one could have imagined the institution this Brooklyn-by-Cincinnati-based band would become. That was two years after their largely unheralded self-titled debut, two years before the transformative Alligator (2005), and just before boxer (2007), which really put them on the map.

I happened to be living in the Queen City at the time, but that had no effect on my attraction to their exciting compositions that could erupt with raucous intensity at any moment. It was a beautiful coincidence that the city so near and dear to my heart was also where my favorite band originated, something I’ve worn like a badge of honour ever since.

It turns out that thousands of others felt something very personal when it came to their fan base, which makes… NationalismA steady rise seems obvious in hindsight but is still unlikely. The National has a loyal fan base that rivals practically any act today. However, this is from a band described as sleepy and sad, the latter of which has embraced their “Sad Dads” slogan, which fans now wear proudly on hoodies at shows.

Not to mention their six-hour performance at the Museum of Modern Art of “Sorrow” in 2013, which proved that there is no limit to their grief. The National recently shared how, thanks to their latest collaboration, Taylor Swift Fans have found their way to the band’s shows only to walk away “confused,” which comes as no real surprise (but is objectively funny).

As their stature has grown, the National have gained a reputation as an impressive live act, much of it centered around lead singer Matt Berninger’s theatrics. Imagine a 6-foot-3-inch, bespectacled man, usually wearing a suit, drinking wine and singing (or perhaps talking/screaming) into a microphone while impulsively propelling himself toward the audience with a constantly extending rope touching him and those around him. . Berninger even has a handler that will pull it back if it gets too far or needs to be untangled. While the lead singer ties himself up in knots, the four bandmates play it straight, even if they succumb to amusement from time to time.

However, this isn’t Morrissey’s backing band either; Aaron Dessner (guitar, piano, keyboards), Bryce Dessner (guitar, piano, keyboards), Scott Devendorf (bass), and Brian Devendorf (drums) showcase musical talent that demands proper attention despite the spectacle. There’s nothing like the mirror image of the Dessner twins wielding dueling axes in pole position, while Team Diefendorf keeps perfect time at the back. Not even the calm Berninger can escape such moments.

With this background, one can imagine how excited fans were when The National announced its final live document, Rome. The National has released live recordings before, including the aforementioned marathon show packaged as A lot of sadness (2015) and Boxer (lives in Brussels) (2018), but this is the first release to reflect the full live experience, presented as an LP and double CD. Rome Featuring 21 tracks from their show on June 3, 2024 at the Cavea of ​​the Auditorium Parco della Musica Ennio Morricone.

Overall, the live album works, and one can hear that the set was loud. However, there is always a disconnect between hearing a band live and seeing them in person, and this divide is even more pronounced with The National. There are so many nuances that can only be gleaned in person, such as Berninger’s embrace of the audience (which is audibly awkward but visually captivating), not to mention the grandeur of the production set. Rome It becomes an essential addition to the National’s catalog but will be of great value to those who have seen the group in concert.

National chooses to release Rome As a one-night show and not the highlight of their international tour is a double-edged sword. On the one hand, this recording documents (almost) the entire concert, offering a glimpse into what listeners might experience when seeing them live. The flip side is that only certain songs are included in the tracklist, which could make for an interesting experience if “Humiliation” transitions into “Murder Me Rachael.” However, surprise additions, such as concert opener “Runaway” as well as “Lemonworld,” “Lit Up” and “The Geese of Beverly Road,” all solid performances, replaced the standout numbers more regularly.

For whatever reason, five songs were left out of the release, a choice that undermines the concept of a one-man show. Perhaps some of the tracks weren’t up to par, the recording quality was off, or the concert needed to be trimmed down for a more manageable version. On this night, including most ambient shows, “Space Invader” closes the set before the encore.

It’s worth noting that “The Day I Die” and “Conversation 16” are also omitted, the latter of which could have been a rousing number due to the refrain alone (“I was afraid, I’ll eat your brains out / ‘Cause I’m evil”). ). The only rationale is that Rome Already includes six cuts from High violet (2010), which means more than half of this album has already been demoed. This comes as a big surprise when the band included only one of their biggest songs, boxereven if the albums are influential You will find me a problem (2013) and Crocodile It was well acted.

The above redaction process is precisely why many established bands – especially those not on nugs.net – choose to highlight highlights from a few shows, to serve as an approximation of a concert rather than the actual artifact. Rome Provides a fair representation of many of their songs. This includes “Fake Empire,” which takes on major proportions live. Likewise, “England,” decorated with royal trumpets, builds steadily until a climactic moment in which Berninger cries, “Afraid of home, for they are in dire need of entertainment.”

Fan favorite ‘I Need My Girl’ gives the audience a chance to clap and sing along, while ‘Bloodbuzz Ohio’, ‘The System Only Dreams in Total Darkness’ and ‘Graceless’ are all huge hits. Somewhat surprising is the decision to abandon the songs I’m easy to find (2019), which means no “Rylan” or “Light Years,” both of which feature regularly in their act and can be as influential as anything in the group’s repertoire.

As with each of their offerings, the record aims to extend their long-running work and reveal something new with each song. Many of their tracks take on new life in concert, and can also be seen in real time in some of their more recent work. In “Eucalyptus,” Berninger laughs a little when he delivers the line, “What’s an undeveloped camera?” / Maybe we should bury this.” He also sounds conversational when he sings, “You gotta take it, ’cause I won’t take it.” Such nuances are repeated over time until they become familiar.

“Tropic Morning News” closes with one of the night’s best songs, the final minute featuring the Dessners wailing on their guitars over Bryan Devendorf’s pounding drums. There’s no doubt that moments like these will soon become part of the concert experience at the National, providing some new fodder to joke about on message boards.

The band’s playing is on point throughout. Berninger embraces his role as the focal point of the show. Take “Smoke Detector,” where he catches a fan with a birthday tag and incorporates “Merry Christmas/Merry Christmas/All we gotta do is say Merry Christmas” into the lyrics. However, Brian Devendorf’s percussion remains the core of what they do. His drum style moves their music forward in waves, with an intensity that defines the moment rather than matching it. Additionally, Aaron Dessner has a more vocal presence.

Take songs like “Lemonworld” and “Fake Empire,” where Berninger echoes throughout the verse. Dessner’s delicate vocals complement Berninger’s rich baritone, perhaps reminding listeners of a band like Constantine, where Steve Lambke provided a much-needed yin to Brian Webb’s yang. It seems unlikely that Berninger would hand the mic to another band member in the studio, but he would be wise to use more prominent backing vocals elsewhere, as they certainly resonate here.

While The National tweaks their setlist each night, they have a rhythm to close shows and a specific set of songs that often includes “Mr. November,” “Terrible Love,” and “Vanderlyle Crybaby Geeks.” “Mr. November” is naturally a crowd-pleaser, and the song feels more like a lively paean (if that’s even possible). For many years, “Terrible Love” has been the film’s impressive finale, a major improvement over its otherwise muted beginning. High violet. The second chorus, “It takes an ocean not to break,” becomes the cathartic climax of the band’s performance.

Then, “Vanderlyle Crybaby Geeks” delivers a perfect finale, with the audience filling in for Berninger, who takes on the role of director. The singer was near his breaking point on “Terrible Love,” and it can’t be part of the act that he always sounds hoarse at this point in the show. It can be said that “Vanderlyle Crybaby Geeks” has become the The unified number in the national universe; Hearing fans belt it out is a good reminder to repeat next time you need a good cry.

Rome It finds The National at the peak of their powers and showcases just how much synergy they have on stage. They have reached a point in their career where audiences will hang on Berninger’s every word and be thrilled by his live embellishments, many of which have become as well-known as studio versions. Each musician plays a pivotal role in the production, with the most devoted fans knowing when the Dessners will alternate keys and how a saxophone or brass instrument will complement a particular song.

Despite all that, Rome It captures much of the feel of their live show, with some unexpected embellishments that will be appreciated even more by those who can imagine what happened. Rome It proves to be a remarkably good example of a great patriotic show, even if nothing compares to the real thing.