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Bank of New Hampshire Pavilion
Forest Hills Stadium
Xfinity Center
Merriweather Post Pavilion
TD Pavilion at the Mann
Place Bell
Budweiser Stage
Blossom Music Center
United Center
Michigan Lottery Amphitheatre
The National are probably the biggest band to come out of Cincinnati, Ohio. The indie-rock group is made up of 5 band members, including two sets of brothers, who play alongside lead singer Matt Beringer.
The band were formed in 1999, and they’ve been touring pretty much ever since. Most of their time as a group has been spent in Brooklyn, New York, where they’ve had a slow burning career that’s seen them grow from being a hardworking but relatively unknown band, to a group who headline festivals around the world and sell out 20,000 capacity arenas.
The full line up consists of lead vocalist Matt Beringer, twin brothers Aaron (guitar, bass, keys) and Bryce Dessner (guitar), and another set of brothers Scott (bass, guitar) and Bryan Devendorf (drums).
Matt Beringer’s distinctive baritone voice, alongside his self-penned discerning lyrics gives the band a unique sound, often described as erring on the sombre-side. They are said to have taken influence from the likes of Tom Waits and Nick Cave, but believe strongly in being innovative and continuing to grow independently as an act.
Interesting fact: one of their biggest breakthrough moments came from their track "Fake Empire" featuring on the 2008 Obama campaign. This, alongside successful support tours with artists like R.E.M., set them on the path to their current popularity. The release of "High Violet" in 2010 saw them reach the biggest achievements of their career - hitting the top 5 across the UK, US and Canada.
Their most recent album "Trouble Will Find Me", was the record that really cemented them into the mainstream. Just before the release of this sixth EP, they premiered a documentary called "Mistaken For Strangers" which followed the band on their "High Violet" tour, focusing mainly on the relationship between singer Matt Beringer and his brother, who took on the role of assistant tour manager.
The National are true strivers, they’ve gradually warmed their way into many a record collection, and with each release prove themselves to be more accomplished than before. Despite their more recent successes, they are not to be considered as having reached a peak: it’s in their nature to continue to improve on themselves.
Read moreI suppose any music lover feels a personal connection with what they are listening too, no matter how trite. For fans of The National, the deeply personal, cathartic nature of their songs always seem to express a deep sense of longing. It’s become emblematic of their songs: that somewhat mournful tone in the Dessner production, the halted and deep baritone of Berninger voice, the stark delivery of the rhythm by the Devendorfs.
Few bands know how to manage the mediums which they use as effectively as The National. Their studio sound is immaculate but their live shows are just as perfectly constructed to give the sense of a magical connection between band and crowd night after night. To these talents we can now add short film with Mike Mills’ oeuvre.
Although I personally felt that they had relied too much on their emblematic character over content on their previous album: Sleep Well Beast and I was relieved and delighted by the novelty of an overtly feminin nature on I am Easy to Find. It is a truly excellent LP to add to their already impressive catalogue of outstanding albums but it is easier to achieve intimacy in a studio. The Dessners are expert producers, lending their latents to many other musicians in the Indie world. Harnessing The National’s inimitable vibe in the controlled environment of a studio is easier than expressing deep and personal feeling during a rock concert.
This is where Matt Berninger shines. While the other members of the band play fantastically and even with some theatricality; occasionally trading places and instruments throughout. Berninger’s stage presence is what truly makes a The National concert an experience.
He doesn’t have a good singing voice and he doesn’t have expressive of diverting stage banter (On this occasion he shared the fact that their tour bus has truck a moose on route to Montreal) but what he does have is the ability to give the impression he is reaching out to us, the audience members.
Unlike most musicians who regularly appear in the news for kicking cameras or knocking peoples’ phones out of their hands, Berninger encourages cell phone filming in his shows through his antics. Granted, there is pro forma pre-recorded warning prior to the show that all venues play which warns that filming the show is forbidden, but when the modern audience inevitably pull out their devices to “capture the moment”, the National frontman gives them something to remember. During one song he took a phone out of a front row audience member’s hand and carried it on-stage alternating between filming himself in extreme confessional close-up or capturing guitar work by one Dessner or another.
In another case, he took the phone on a wild ride during one of his legendary walkabouts through the audience. If you’ve been to a The National show, you will recognize this characteristic move by Berninger. He will suddenly become compelled to leave the stage and plow into the crowd. He enters into what appears to be some kind of fugue state, moving back and forth, carving a path through the throngs of the audience members who reach out to touch him, hug him or, more often than not, film him. His interactions are impetuous, short and frenetic, almost brusque as though he is desperate to find what he is looking for and that search is always a physical manifestation of intimacy.
Even when he is on stage, this personae of the desperation and frustration as he strives to connect with us on a personal level is made manifest by the way he wrestled his mike from its stand, flinging the inanimate object violently when it refuses to cooperate. He climbs onto lights and monitors or paces back and forth with nervous hands as though he is trapped and desperate to get out, to connect, with us. Sometimes he seems to almost manage a personal moment, a passing high five or sharing the rest of his bottle of cold red wine with the front row.
It’s an act. The moves are just as rehearsed as a pop diva’s choreographed dance sequence, if less overt. The roadies are always at hand to pick up that recalcitrant mic stand and somehow, empathically, know when Berninger will suddenly be compelled to plunge into the crowd and have an improbable 200 feet of mic cord at the ready. We know the moves, we wait for the sudden yet inevitable breakdown of Mr. November, we sing along with Vanderlyle, yet they still affect us.
I know it’s a conceit, but it’s great showmanship which make us believe we have shared something special and it’s what keeps me coming back show after show.
I have been introduced to The National by my husband in 2002 when we moved to Vancouver. I was automatically drawn to their music. Being in a new city, and without knowing anyone, I often spend my free time going for long walks and exploring. Their music provided me with a lot of comfort as I strolled through streets full of people, yet feeling alone. Their dark, full of melancholy music fills me up with longing for more. In times where I need a good cry, when I do chores around the house, when I sit down with a glass of wine, it is my go to music. I love all their albums, but High Violet, Trouble will find me, and Boxer are definitely albums that are on the constant repeat. My husband, a music fanatic, is always on the lookout for the new and greatest bands. He keeps introducing me to new artists, yet after listening to one or two songs from their album, I switch the ITunes to play The National. If someone asked me what my favourite song is it would go like this: "I should live in salt" , "Fireproof", "Graceless", "I need my girl", "This is the last time", "Terrible love", "Sorrow", "Lemonworld" "Mistaken for Strangers", "Fake Empire" "Abel" "Trouble will find me"... the list can go on and on.. I don't think they have ever written a bad song. What I love about their songs is not only the melodies are superbly written but the lyrics are full of meaning (and that is hard to find in music today). The National are bringing back music that matters, music that fills your heart and soul. I had a pleasure of attending one of their concerts here in Vancouver in 2013 at the PNE. It was the most amazing show ever. I am about to turn 40, yet I was screaming like a teenager! Did I mention, I love Matt! I recently watched the documentary "Mistaken for Strangers" and loved this new expose of the band... The National, unique sound, amazing vocals, beautiful melodies, dark lyrics, talented musicians and song writers... I would do anything to see them in concert again!
I had such a great evening seeing The National! Matt's interaction with the crowd was second to none. On multiple occasions throughout the evening he descended into the standing area, and sometimes the audience lost sight of him for what felt like minutes (but probably was seconds, thanks to security).
Irish singer Lisa Hannigan, who provided backing vocals on Sleep Well Beast, joined the National at multiple points during the night. Her enchanting vocals were sadly lost at first, but after a few adjustments she provided a haunting accompaniment to Matt's iconic baritone voice.
Matt's voice often reached new levels of emotion when it transcended into a guttural scream on certain songs.
As the night drew to a close, Matt announced that they were to sing 'the most depressing song we've ever written' - About Today. Hailing from their 2004 EP Cherry Tree, this was a particularly special moment. The crowd fell silent and eyes were drawn once again to the incredible light show behind the musicians.
Having performed a cover of Talking Heads' Heaven, support act This Is the Kit and Lisa Hannigan joined the stage for a beautiful, bittersweet rendition of Born to Beg.
The icing on the cake of a beautiful two hour concert was the final song - Terrible Love. Matt walked through the crowd as we all sang in unison 'it takes an ocean not to break'.
My only regret is that we didn't get to hear Mr November, my favourite song.
The National can be depressing, and there's no denying I felt slightly melancholy this morning, but in today's world it's impossible - at least for me at least - to pretend that everything is going swimmingly.
We need music that examines our deepest emotions to prevent us burying our heads in the sand. And with that, we need the National.
Morrissey’s voice made introductions by way of lyric as The Smiths’ “Please, Please, Please Let Me Get What I What” was piped over the PA while the band took their position on stage. Berninger and the brothers were joined by a pair of multi-instrumentalists who dabbled in various sounds throughout the night, but whose main contribution came in the form of horns. As Morrissey’s pleas faded behind the three split-screens that acted as backdrops, Berninger was pacing like a caged beast; his neck bent, his head facing the ground, and his long blonde hair obscuring not only his glasses, but most of his facial features as well. “Thank you,” he said curtly, before following the brothers into “Don’t Swallow the Cap”. Everyone was on their feet, with their arms overhead, when the LSD-inspired rainbow light-show was washed out in bubbling crimson waves as the night transitioned into “Bloodbuzz Ohio”. Then we were treated to the first preview of the evening…
“Checking Out” started out with simple synth, then Berninger came in with his deep, introspective, stream-of-consciousness vocals about fucking things up, before a light backbeat and simple chord progression met him somewhere in the middle. The song continued to be very synth and vocal driven from beginning to end. Multiple members of the band have spoken about a new direction forward, and if “Checking Out” is any indication of where the new road leads, I’m certainly along for the ride.
See more http://ilistensoyoudonthaveto.com/2016/08/01/the-national-red-rocks-07-31-16/
This show was labeled "A Special Night with The National" and was a limited 6 city engagement that included a viewing of a short film directed by Mike Mills (not THAT one) and scored by special arrangements of tracks from IAETF and Q&A with Mike and one of the Dessner's and Matt.
The short film was good, very moving about a woman's (Alicia Vikander) journey from childhood through life and including all the experiences one would imagine a woman has/goes through. To this end the female collaboration on the new album lends itself very well.
The main set was comprised of the new tracks from IAETF and featured appearances by Julien Baker for a couple of songs, as well as the Brooklyn something Chorus/Choir. The live arrangements were complete with string trio and brass duo. The songs were good but most (all but 2 or 3) lacked the energy that one is accustomed to seeing from The National (this is neither a good thing nor a bad thing, I get it, this was a toned down show, to be seen more like an art show). The encore consisted of 3 or 4 songs from the back catalog and Not in Kansas, which packed so many political and societal issues into one song it will make your head spin. They played Fake Empire, Bloodbuzz and The System Only Dreams in Total Darkness which demonstrated the regular energy of a 'The National' show.
Overall a good show, definitely different from the 8 or 9 times I've seen them previously.
I saw The National at the Shaky Knees Festival in Atlanta this May. I have always liked their music but did not have a strong desire to see them live because their music is so mellow. However, they were awesome! I was pretty close to the stage in a general admission area. The sound was great and their energy was great too. I was shocked at how bad ass the lead singer is. He was smashing things on stage and even came out into the audience and crowd "walked" around. I was so close I could almost touch his hand. At the end of the show, they were so thankful of the audience, and it seems like they genuinely care about their fans and want to make sure that they give the best performance possible. I really enjoy their current album, Trouble Will Find Me. "Graceless" and "I Need my Girl" are my favorite songs. They have been around for awhile (I think about 10 years), and their music just keeps getting better, and they stay current. Seeing them live made me more interested in them as a band. I would definitely see them again if they came back into town.
Some people of my age (82) want to try Parachuting, Bungee Jumping or some other daring pursuit while still on this planet but my greatest wish was to go to a live concert of that amazing band, The National!
I was so lucky to be in Brighton last Saturday (7th Dec) to have my wish granted and the whole experience was fantastic - they even played my very favourite song, ‘Light Years’. The song list was well chosen, full of contrast in mood and tempo and the audience responded happily to singing Vanderlyle Crybaby Geeks!
Our group included three generations, myself, two daughters and a granddaughter, all National fans.
The Brighton Centre is an excellent venue and the audience was so receptive and enthusiastic. I think Matt himself must have realised that, considering his many ventures down to the front row. At one point, he stumbled and my younger daughter held out her hands to steady him - unfortunately he stood on her toes but all is forgiven, Matt!
I had heard they were a life changing show prior to going, but I was skeptical due to how hyperbolic people tend to be about that kind of thing, but HOLY SHIT.
They had a bit of a rocky start, but once they got their groove on (and Beringer got sufficiently drunk) 2-3 songs in, it was one of the most surreal shows I've ever had the pleasure of attending.
their music is often noted for being a bit mellow, but this show couldn't be less so. when it they weren't reaching swans-level volumes with songs like Mr November, they were delivering some satisfyingly visceral takes on classics like "Don't Swallow the Cap" or "Fake Empire"
seriously, though, this show was insane & I highly recommend seeing them to anyone if they're in your area.
An incredible live performance. Matt and the band bring to life songs from the album with such passion and grit in ways that can't fully be explained. They make you fall in love again with music and songs that you may have listened to hundreds of times and thought you understood. They emotionally charge into anthems and b sides alike and have a great time interacting with the crowd, with Matt often stepping off stage or singing with the crowd around him. The stage presence, comments between songs, goofy dancing by Matt, band mate banter and red solo cups handed out or flung into the crowd all add to the incredible musical performance. I can't recommend seeing them enough. If you're a fan this is a must see show.
They are absolutely incredible live. Between Matt's shrieking during The Pull of You and the intensity of Bryce and Aaron during rockers like Day I Die (during which Matt waded deep into the crowd) and System, this was certainly not a boring affair! Even the quieter numbers (Vanderlyle Crybaby Geeks, Light Years, etc) had a coiled intensity. Matt is super funny on stage, telling clever anecdotes and giving away the mic stand at the end of the concert. The only caveat to the performance was that the whole field reeked of weed, so strong it was making me and my SO sick. Most of the fans just stood there smoking instead of actually having fun and dancing. The band itself was awesome though!
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The National is not due to play near your location currently - but they are scheduled to play 20 concerts across 3 countries in 2024-2025. View all concerts.
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