The National, London Astoria, 22nd May 2007

As I’ve mentioned before, my musical knowledge advances at a rate best measured in geological timescales, so it was only when I came across a mesmerising live on French TV (as I remember) version of Start A War posted on this very site, that The National got a real foothold in my consciousness. But I know a good thing when I see it, and I was instantly converted. On Monday night I saw them kick off their current live tour with an hour at Fopp Records at Tottenham Court Road – a marvelously relaxed and intimate way to first encounter these guys live. In what could have doubled for a run-through in their garage, they dusted off most of Boxer and a couple of raucous favourites from Alligator in preparation for the following night’s big show.

Having spent the rest of that night enjoying Wilco at Shepherd’s Bush Empire, and a fractured journey home afterwards, I was a bit low on energy and opted to lurk upstairs at the Astoria for the first time. I couldn’t quite bring myself to sit down, and secured a nice standing view on the balcony as North Carolina’s Annuals spilled out on stage to an already pretty full audience. They seemed to feed off this atmosphere, and turned in a spectacularly entertaining set. I’m a fan of most of Be He Me, and they brought those quirky indie-pop songs to life with an energy not often seen in a support act. And four out of the six of them are closet drummers. A tad too loud at times to allow some of that quirkiness to breath properly, but all in all top marks for effort, and I was glad to have caught them.

Half an hour later the Astoria was heaving and Simon and Garfunkel’s The Boxer (not sure if there’s a real link of some sort there) heralded The National’s rather endearingly disheveled entrance on stage. For a band with such potential, they need to work on their stage craft, but that is part of their appeal. Only drummer Bryan Devendorf is cultivating a mean demeanor with some kind of long black haired Rhys Ifans thing going on, the others are thoroughly nice young men (I was lucky enough to have a few words with some of them on the Monday night). Your mother would like them. Which makes their brooding songs all the more unexpected. Scratch the surface and we all have our anxieties and fears – often only find release in surrender to your fate and rising above – if you’re lucky.

Start A War kicked things off, and Fake Empire was another obvious highlight in their demonstration of the art of the smoldering build present in many of their songs. Ongoing collaborator Padma Newsome added texture with keyboards, mandolin and violin, and the drumming was a talking point for many throughout. Reluctant front man Matt Berninger seems trapped on stage. Most of the time he looks like he would much rather be somewhere else, awkward and fidgety, driving himself to stay in the limelight and work himself into the mindset required to deliver. He must have a set of false fingernails on the rider each night. His bandmates must call him Forrest. It’s compelling. Then, unseen, the pressure builds as if Mr. Nice Guy has been taunted that little bit too far just once too often. From nowhere an incendiary version of Mr. November explodes and the crowd follow suite. A jaw-drop moment – magnificent. Mr. Nice Guy is almost crowd surfing as the expletives flow. Still waters run deep.

Abel in the encore is another burst of rage to contrast with the majestic beauty of Daughters Of The Soho Riots. The band have enjoyed their reception and the full house. The album is all set to do great things. The Astoria’s time is running out apparently, despite petitions and protests, and nights like this will be sorely missed. And I was there all because of that video posted on TLOBF … I think I owe someone a pint.

The National have just announced a show at Shepherd’s Bush Empire at the start of November. Your ever attentive reporter has managed to loose one of the advertising slips being handed out, but you know where to check. Don’t miss it.

Links
The National [official site] [myspace] [album review] [interview]