The National, The Walkmen @Thebarton Theatre, Adelaide(15/11/11)

Thu 17th Nov, 2011 in Gig Reviews

Although Adelaide missed out on hosting the fun and frivolity that was the Harvest Festival, we did manage to gain some very nifty sideshows, with the three headline acts all frequenting the Thebarton Theatre in three days: Portishead, The Flaming Lips, and The National. It was the latter who kicked off the activity on a balmy Tuesday night in Adelaide. In support of the Brooklyn 5-piece, The Walkmen were another great act many had looked forward to seeing for some time. This was perhaps one of the best elements of the newly created festival; it was a whole bunch of bands coming together that would otherwise not have toured, and luckily we reaped in the rewards. The two bands on show tonight were very similar at their core. Their styles are of hard-work, honesty, simplicity and emotion. They simultaneously make good music look easy and easy music look good. And luckily for the crowd, both were ready to let their hair down tonight.

At what seemed like an early start time of 8pm, The Walkmen casually wandered out and began their set slowly but surely. The way their songs come together certainly represents a band that has been together for over 11 years, with a tightness and understanding that only an experienced band could possess. Each member just went about their job, doing what they have to do in a very professional kind of subtlety, and every element of their sound is played to perfection. Frontman Hamilton Leithauser proclaimed that he and his band-mates were “the nicest guys in the world”, before correcting himself by explaining The National held that title. That was about the extent of the on-stage banter, besides a moment where everyone bailed on Leithauser, leaving him to take on a solo number which barely floated over the conversation from some sections of the audience.

While showcasing a number of new tunes, the band seemed to just go through the motions, as would be predicted when introducing new material to a packed venue. It was their older songs which increased the intensity, particularly evident in the drumming of Matt Barrick, who provides a physicality and exuberance that perfectly contrasts the more laid-back nature of the other band members. The Rat got a good going over before the band’s finale provided one of the highlights of the set. All Hands And The Cook was exquisitely performed, and culminated in Leithauser belting out the bridge with just a reverb-drenched guitar to back him up; it was an exemplary climax to what was an equally emotive and powerful performance. Having witnessed The Walkmen at the aforementioned festival, it appeared the guys were far more comfortable in the intimacy and surrounds of the Thebby. They provided Adelaide with a professional and unrequited performance that will have won over new fans and satisfied their most devoted.

As The National prepared to take the stage, a lo-fi video camera filmed the band in the minutes prior to their arrival, of which the film was projected onto a massive screen that backed the performance area. It was a nice touch, and many would not have realised the footage was live until the band actually arrived. As soon as they did, opener Runaway provided an odd but appropriate beginning to what was to be an hour and a half of rock and roll perfection. The slow-burner began a trio of tracks from 2010 break-out success ‘High Violet’, including Anyone’s Ghost and Conversation 16. It was no surprise to see that nearly all of ‘High Violet’ was given a spin during the set, but this was offset by a fantastic array of the band’s older tunes. Compared to their older material, The National provided a more urgent and enveloping sound on High Violet than on previous releases like ‘The Alligator’ or ‘Sad Songs For Dirty Lovers’, not to discount the brilliance of those records. This sentiment aided their live show in turn, creating a powerful and evocative performance from all on stage.

The stage featured a mini brass section comprising of Kyle Resnick on trumpet and Dave Nelson on trombone, creating a powerful ambience to songs like Bloodbuzz Ohio and Mistaken For Strangers. Matt Berninger played the perfect front man, spilling red wine onstage, showing his respect for the Adelaide crowd, but more importantly, singing his guts out through every track and leaving nothing to chance. Added vocal overtones enhanced the feel of tracks like Abel and Squalor Victoria, the latter of which began with some pulsating stickwork from Bryan Devendorf on the drums and ended with Berninger showing no respect to his vocal cords via a screeching climax. These songs perfectly worked in contrast with the sets quieter moments, including Daughters Of The Soho Riots, which was backed by an evocative visual package displayed on the screen behind the band.

There were many highlights during the set, most of which were relatively understated. High Violet and Little Faith, showcased the band’s musical ability on all fronts, including some punchy, artistic basslines from Scott Devendorf. The majesty of Afraid Of Everyone allowed the brass section to lend their voices to the sound, and Berninger to convey the most evocative lyricism possible. Even when you don’t know what he is singing about, you know it’s nonetheless important. The band left the stage to a rapturous audience, who in turn got a four-song encore, the highlight of which being Terrible Love. The band had everyone singing along almost immediately, as Berninger began to make his way through them, running from side to side as far back as the microphone lead could reach. It was quite a special moment for fans to witness, as cameras and videos captured the run from all angles. The finale was quiet, as Vanderlyle Crybaby Geeks received a completely acoustic makeover, with no leads or microphones allowing the band to strip the song right back. The near full theatre reverberated the song word-for-word, and even from two rows back the group’s voices could not be heard. Truly a memorable thing to witness.

Both bands mentioned throughout their sets how much fun they’d had in Adelaide, and on stage in particular. It seems as though both The Walkmen and The National are in good places right now. Both began around the same time, and both reached the height of their powers in 2010 with breakthrough albums. Yet The National offer something so unique it is almost hard to pin down. It is the simplicity and honesty in their songwriting and sheer musicianship which sets them apart from the rest. While new bands may aspire to sound like The National, there will only ever be one band like them.