Writing a review of a live show is a tough and sometimes unfair thing to do. Assuming that a band doesn’t just play songs from one album, a reviewer is then inherently judging the entirety of a catalog by just one performance, combined with whatever ups and downs may have accompanied the performers on that particular day. So…on Friday when I saw The National play Seattle’s Paramount Theater, I found myself taking in material from several albums, as well as the fact that lead singer Matt Berninger was battling a cold onstage with “Sudafed and bourbon.”
I would guess that many who hear The National’s distinct brand of whiskey-soaked (it was fitting that this was a medicine of choice), melancholic, indie rock, often have a “love it or leave it” reaction. On record, the band is tight and adept, fitting sneaky little hooks and melodies into brooding, introspective music. Live they are no different – pulling off the harmonies, the guitar lines, and, of particular note, the horns, perfectly. They craft songs that aren’t necessarily immediate hits to the gut, but rather slow builds, both structurally and lyrically. Watching them unfold onstage allows them to breathe, build, and impact in a more present and powerful way, which suits them well.
So why so much focus on their recordings (this is a show review after all)? Well, if you don’t count the light show (which was excellent, complete with a full video screen backdrop), there wasn’t much difference that I saw between what was on stage and what’s on the albums. Depending on how you look at it, that may or may not be a bad thing. However, I found myself throughout the show kind of wishing I could be at home listening to the songs on record, instead of gathering the feelings of let down at a live show that seemed just…fine.
The National seem to have hit that magical space where the most interesting parts of indie rock meet the more widespread popularity of, say, Urban Outfitters hits. The crowd’s enthusiasm seemingly reflected this and the energy was returned to the band throughout the night, going so far as to join in on singing along with unplugged set closer “Vanderlyle Crybaby Geeks” (a highlight of the night, to be sure). Other highlights, predictably and deservedly, included alternative radio staples “Fake Empire” and “Bloodbuzz Ohio.”
To sum it up, The National did too much right to say this was a bad show, but it was just a little too underwhelming to say it was a great one. I’m sure many will disagree with me on that assessment, but I, for one, will give them another go next time they’re in town to see if, perhaps, it was just the Sudafed.
