For those that are unaware, most bands use this little piece of paper called a ‘set list’ during their shows. This paper helps the band keep track of what songs they plan on performing and their order for a particular evening. Set lists are especially useful for bands with lots of members, a fairly extensive catalog and the plans to play for a long time in a mid- to large-sized venue. A perfect example of a band that would need a set list is New York-by-way-of-Ohio indie rock band The National.
So yes, “Lemonworld” is a fantastic song and it is nice to show a band you appreciate a song. However, when the band takes the time to explain that (1) they have a set list and (2) if they keep getting heckled for a song, they’ll feel less likely to play it, then it is probably a good idea to stop shouting “Leeeeemonworld” nonstop. And yeah, “Lemonworld” was nowhere to be found on the set list, but it still hefted 18 of their other darkly poetic masterpieces. So it was understandable that the band was a little frustrated that their picks weren’t enough to appease the entire crowd. But they handled the heckling well.
So after explaining the concept of a set list and then joking about how they’ll play requests as long as that is the next song on the list, front man Matt Berninger announced, “This is ‘Lemonworld’…I’m joking. This is a song about eating people.”
This story shows off the primary contrast between the National at a club/venue show compared to the National at a fest. The National were frequent guests at some of the Summer’s biggest festivals (Bonnaroo, Lollapalooza, etc), but in broad daylight with shorter set times, the band’s greatest interaction was with their wine glasses and not so much the audience. They played through songs which were difficult to differentiate once they were all done. It made this reviewer a little hesitant to see them again in such a short time period after this Summer, but their Kansas City show at the Uptown was a completely different ballgame. The group was still suited up and clutching wine glasses, and for the first few numbers, there was a tension that made it seem like this show would be a repeat of the fests. But then they broke loose.
Once feeling more warmed up, Berninger looked up from the floor, moved his mic out closer to the crowd and prowled the stage in a triumphant step that matched the triumph of the brass section. His rich baritone layered over big instrumental arrangements. Sometimes he sang almost in a revered lullablylike lull and other times he built up into a passionate howl. When he hit the more scream-like levels, it looked as though he was throwing his whole body into making the sound.
For a long time, it was hard to watch anyone else. But then Berninger drew attention to drummer Bryan Devendorf. “The pressure’s on,” said Berninger referencing the fact that Devendorf plays C&C Drums, made by a local company whose owners were watching the drummer. Devendorf must do extra well under pressure because the guy was explosive to watch and exercised more dynamic control than most drummers are capable of in their entire life.
Though Berninger was hard to stop watching for too long. When it came to the encore performance of “Mr. November,” Berninger reached his howl-like volume levels with everyone excitedly shouting, “I won’t fuck us over,” and that singalong moment would have been enough to make the song feel epic. Then, Berninger grabbed the microphone, jumped off the stage sang a chorus bracing the front row of the crowd and then he proceeded to enter the heart of it. It’s the moment that gives security heart attacks, but makes the hearts of fans skip a beat.
My only critique was that after a moment like that, “Terrible Love” had a tough act to follow to match the excitement. Perhaps, “Terrible Love” is more like the cool down after a work out. Either way, the show was fantastic and a vastly epic improvement to the band’s festival appearances.
Also fantastic was the opportunity to finally see Canadian violin virtuoso Owen Pallett (previously Final Fantasy). This is the man known for composing practically every string arrangement for anyone who’s an anybody in indie music. Seriously, his resume boasts all Arcade Fire albums, Beirut, Basia Bulat, etc. He was just nominated for a Polaris award…again. The guy makes Andrew Bird look like a beginner. Since Pallett is a solo writer, he began his performance with just him at the microphone with his violin, keyboard and loop pedal. He was later joined by his lone touring musician that helped him fill in some of the percussive gaps and harmonies. The modest musician apologized before one tune for always messing up, but promising to do his best. So despite a few hiccups, Pallett’s opening performance on this tour is not one to miss. Pallett’s warm vibrato, beautiful tremolo and pizzicato flourishes carried the audience through the story of Lewis, the romance of Win and Regine and more. With each looped tale, Pallett won over the hearts of many who might not have previously realized they already heard his work with many of their beloved tunes on their iPods.
The National’s Set List:
The Runaway
Anyone’s Ghost
Mistaken for Strangers
Bloodbuzz Ohio
Brainy
Slow Show
Squalor Victoria
Afraid of Everyone
Available/Cardinal Song
Conversation 16
Apartment Story
Abel
Daughters of the Soho Riots
England
Fake Empire
//
Vanderlyleeeeee (Vanderlyle Crybaby Geeks listed on the set list, but All the Wine performed)
Mr. November – in the crowd
Terrible Love
