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The National – review The National – review
(7 months later)
An early double hit of Anyone’s Ghost and Bloodbuzz Ohio, the latter accompanied by violent red splatters across the stage backdrop, rolled between quiet lulls and sonic assaults to the constant grounding rhythm of drummer Bryan Devendorf.An early double hit of Anyone’s Ghost and Bloodbuzz Ohio, the latter accompanied by violent red splatters across the stage backdrop, rolled between quiet lulls and sonic assaults to the constant grounding rhythm of drummer Bryan Devendorf.
There is a sense of space in the band’s music suited to the open forecourt, although an extra few decibels would have improved things immeasurably. Directional speakers at moderate volume saw huge variation in sound quality depending on where you stood. Few, if any vantage points provided that all-encompassing, bone-shaking, heart-thumping drug that loud live music can be.There is a sense of space in the band’s music suited to the open forecourt, although an extra few decibels would have improved things immeasurably. Directional speakers at moderate volume saw huge variation in sound quality depending on where you stood. Few, if any vantage points provided that all-encompassing, bone-shaking, heart-thumping drug that loud live music can be.
There was little interaction with the crowd beyond a few thank yous and happy-to-be-heres, but it was a fair trade-off for hearing as many songs as possible from a widely beloved back catalogue.There was little interaction with the crowd beyond a few thank yous and happy-to-be-heres, but it was a fair trade-off for hearing as many songs as possible from a widely beloved back catalogue.
Amid the epic 25 song set it was moments drawn from High Violet and Boxer Amid the epic 25 song set it was moments drawn from High Violet and Boxer that grabbed the crowd most completely. A rapturous run of Afraid of Everyone, Conversation 16 and Squalor Victoria back to back, with Berninger spitting out words and wine in equal measure amid a cacophony of lights and sound, was followed by a levelling and beautiful I Need My Girl from last year’s album.
that grabbed the crowd most completely. A rapturous run of Afraid of Sorrow provided an emo moment for a crowd well past the appropriate age for it, then the energy stayed at a simmer for a few songs before reaching arguably the biggest song of the night’s main set, Fake Empire. A false start and a joke with the band, freestyling horns and guitars held high saw the band members let loose more than at any point so far. Then the National were gone, except not really because this is Sydney and encores aren’t real anymore.
Everyone, Conversation 16 and Squalor Victoria back to back, with Returning to stage, Hunger Games contribution Lean was a little, well, lean, but the bizarrely disinterested punters stopped their chatter and came together with the crowd as all realised the night was ending. Under the watchful eyes of the ticketless hanging through the fence on the ridgeline above, Berninger raged through the crowd screaming himself hoarse with Mr November. Trailing fans drawn to him like a magnet, he wound through the audience landing back on stage to plant the mic stand, and it seemed like it was “Berninger: out”.
Berninger spitting out words and wine in equal measure amid a cacophony But then it was Terrible Love lifting everyone up as it soared and echoed through the night, and the crowd was up, and up and up, and then it was quiet as the band crowded around two mics and softly but powerfully delivered an acoustic Vanderlyle Crybaby Geeks. No one knew the words as well as they thought they did but it was a moment of near perfection to end what was a beautifully cathartic night.
of lights and sound, was followed by a levelling and beautiful I Need My Girl from last year’s album.
Sorrow
provided an emo moment for a crowd well past the appropriate age for
it, then the energy stayed at a simmer for a few songs before reaching
arguably the biggest song of the night’s main set, Fake Empire. A false start and a joke with the band, freestyling horns and guitars held high saw the band members let loose more than at any point so far. Then the National were gone, except not really because this is Sydney and encores aren’t real anymore.
Returning
to stage, Hunger Games contribution Lean was a little, well, lean, but
the bizarrely disinterested punters stopped their chatter and came
together with the crowd as all realised the night was ending. Under the
watchful eyes of the ticketless hanging through the fence on the
ridgeline above, Berninger raged through the crowd screaming himself
hoarse with Mr November. Trailing fans drawn to him like a magnet, he wound through the audience landing back on stage to plant the mic stand, and it seemed like it was “Berninger: out”.
But then it was Terrible Love lifting everyone
up as it soared and echoed through the night, and the crowd was up, and
up and up, and then it was quiet as the band crowded around two mics
and softly but powerfully delivered an acoustic Vanderlyle Crybaby
Geeks. No one knew the words as well as they thought they did but it was
a moment of near perfection to end what was a beautifully cathartic
night.