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The National @ 100 Club, London, 18.05.2005

The National

Grand and expansive veterans of widescreen loveliness dress down in t-shirts and jeans for an evening of precise and perfectly pitched awkwardness. James Berry stumbles forward.

09/06/2005

It’s not like we were actually expecting them to creep out of shadows, lit up alright with flickering candlelight capturing the outline of their hardened features (which reminded us of Bruce Springsteen with Leonard Cohen’s wise old eyes) chain pipe-smoking, sipping a rough malt, the walls draped in velvet, the world slipping slowly out of sync in the background. This is the 100 Club after all, the overrated 100 Club, the lighting’s rubbish and the walls certainly aren’t covered in expensive fabric. But it’s kind of how we visualized them, and though we were inevitably primed for disappointment on that front there’s still surprise at how regular and unsettled they appear.

The National are responsible for one of the year’s most sumptuous records, in ‘Alligator’, and two notable albums before that. It is dusky American songwriting at its most toiled and tailored. The songs conjure up awkward situations, difficult loves, perfect moments, in grand expansive settings. They are widescreen filmmakers without the luxury of pictures.

But here before us they are something altogether different. They’re dressed in t-shirts and jeans, or look like they’ve come in from cutting wood in the forest outside (again, of course, we know this to be wrong – there is only pollution and brick-built high-rise the other side of this front door), there are distant, vacant and bemused gazes, and lead man Matt Berniger is awkward and wiry with distracted facial hair, possessed by peculiar flinches that the music seems to drive out of him off the beat. At one point he stumbles off the stage, lights up a cigarette and watches his own band, swaying like an anonymous observer, caught up. He appears drunk, but we don’t think he is. He appears a little like he’s just fallen in off the street, but we don’t think he has.

But after some time it becomes clear that this is exactly right. In spite of their appearance they have the drive, and we already know they have the creativity, the imagination, to play themselves above reality. Though this live show dips in and out and is more often than not a little ragged around the edges, one hint of reality that the recorded versions of these songs smudge out.

Some songs, ‘Lit Up’, ‘Karen’, ‘Cherry Tree’ and ‘Driver, Surprise Me’, appear perfectly formed, precisely played, deeply emoted. Some, like ‘Secret Meeting’, ‘Astronauts’ and ‘Slipping Husband’, are pencil sketches rather than the familiar fusion of dark colours. Some, like ‘Friend Of Mine’, ‘Abel’, ‘Mr November’ and ‘Available’ are so tearaway rampant that bits are falling off them in the resulting whirlwind, the latter seeing Berniger collapsing into and over the drum kit. Some, like the awesome ‘The Geese Of Beverley Road’, flit between the three and many head places they don’t on record.

There is an air of weariness pervading the performance, perhaps down to this being the last night of a five week European run, which may have blurred the image slightly. But even though what we see tonight is scuffed, there is a recognisable craft underneath and they do one of the year’s finest albums justice. And besides, it can make for a fine gig when you can’t fathom quite how they held together for the duration.

Relevant sites:
http://www.americanmary.com



James Berry for Crud Magazine 2004©


04/05 British Sea Power - Live - Scala, London
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04/05 The National - 100 Club, London
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