The Long Count by Aaron & Bryce Dessner w/Matthew Richie – Barbican, London 02/02/12

A collaboration between The National’s Aaron and Bryce Dessner and visual artist Matthew Richie, The Long Count is a mishmash of ideas encompassing the Guatemalan creation myth, Popul Vuh, the tale’s hero twins (played by the Dessner brothers) and baseball. The UK premiere of the production features guest vocals from Shara Worden (My Brightest Diamond), Tunde Adebimpe (TV on The Radio) and Kelley Deal (The Breeders), as well as backing from The Heritage Orchestra.

Fine pedigree aside, there’s little narrative to the 75 minute show and trying to find meaning behind it is as fruitful as finding meaning in a piece of toast that looks like Jesus. To call the show ‘abstract’ is an understatement – the more you attempt to learn about it, the less sense it makes. Leaving the Barbican after the performance, it appeared many in the crowd shared the same confusion.

The show opens with the Dessner brothers awkwardly playing tug of war with a guitar attached to a long piece of rope at the back of the stage. Other bewildering highlights include Shara Worden – dressed like a twisted extra from the Nutcracker – awkwardly wandering around the stage and Kelley Deal scratching at the floor with a knife. Oh, and there’s a bit where the Dessners play swingball with a guitar suspended from the ceiling. Yes.

The physical performance is heavy-handed and confusing, while the backdrop visuals are repetitive and messy. There are occasional moments when all the elements align, but overall the visuals of the performance are too vague and meandering to impact with any punch.

Sonically, however, The Long Count is a beautiful experience. The orchestration is gorgeous and the musicianship of the players is simply wonderful. The Dessners play a mix of shimmering guitar duels and heavyweight apocalyptic thrash outs that are truly magnetic. Worden’s vocals are eerily heaven-sent, Adebimpe’s soulful, warm delivery is marvelous and Deal’s feisty wails are engrossing.

Perhaps most incredible of all is the phenomenal percussion work from Sam Solomon, whose skill at playing drums and glockenspiel at the same time is jaw-to-the-floor impressive.

It’s impossible not to admire the creativity of the Dessner brothers. While the venture is a mesh of confused pretension, it is possible to look beyond the disparity and enjoy the musical experience. Go watch with your eyes closed… or wait for the CD.