Sydney Opera House
Wednesday February 21, 2018 (images)
Thursday February 22, 2018 (review) :
The National has existed somewhere deep in the back of my brain for nearly a decade. ‘Anyone’s Ghost’ was the epitome of who they were, triggering an outburst of vocal misery whenever I heard it. Matt Berninger’s voice was intriguing and roused an emotional reaction without understanding the full depth of his character. I naively never endeavoured to dig any further than the perceived High Violet image until now.
The subtle beat of ‘Nobody Else Will Be There’ rained over the Opera House Forecourt burrowing into the hearts of every vino-loving fan there. Dismayed by the bar’s diminished red wine stock, “come on guys, know your audience”, utters Berninger but is quick to tease of his own brimming supply. Lost in his own psyche, Berninger’s eyes were melded shut during the most intimate moments flickering open ever so often. Just the smallest glimpse of his pupils begged for a closed eyelid again as an ominous stare was too much to stomach. Heavier tracks from earlier albums such as ‘Mr November’ along with newbie ‘Turtleneck’ sparked the mad man inside to break loose as he scaled the stage (mic in hand) running and screaming to the outwards world. A pacing madcap man was not at all what I expected to witness but his varying borderline lunacy and vocal purity was enthralling.
An opulent rendition of ‘Afraid of Everyone’ felt complete with the featured brass instruments played by two guest musicians whose presence was a pleasing addition to the show. Their added layers of rhythm complimented Bryan Devendorf’s drum sequences as he swapped between a plethora of sticks and brushes. ‘Bloodbuzz Ohio’ and ‘Fake Empire’ were the sing along, pour your heart out moments for this novice while the soft piano melody of ‘Carin at the Liquor Store’ gave me Mellon Collie and the Infinite Sadness chills. It was a fairly fluid set, moving in and out of woeful comas and extreme scream sessions as the band dipped into new and old territory.
An encore ensued with a night that could have ended at the emotional peak of ‘Terrible Love’ until Berninger turned the mic towards the Opera House sails. Aaron Dessner began strumming the delicate notes of ‘Vanderlyle Crybaby Geeks’ and for the first time during the entire night chatter subsided. An overwhelming feeling of comfort and security united everyone as we sang “All the very best of us, String ourselves up for love”. It was this raw, unfeigned peek into The National’s most delicate layer of vulnerability that will stay with me forever.
Reviewer : Louie Smith
Photographer : Ben Hunt
THE NATIONAL
[nggallery id = 853]
LITTLE MAY
[nggallery id = 854]