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THE NATIONAL
+ Fleet Foxes + Annie Hamilton
+ Welcome To Country
@ Kings Park Botanical Gardens, Perth,
9th March 2024
(Live Review)

Review by Melanie Griffiths

Photos by Mark Francesca (@mark_francesca_)

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THE NATIONAL / Photo – @mark_francesca_

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“The National Unleashed and Evocative”

Thank God the grind of agency life lost its appeal to graphic designer Matt Berninger. Otherwise, we may have missed out on one of the most pivotal bands arising from the 2000s.

The lead singer of The National led a packed Kings Park crowd through a cathartic watershed of emotion. To see The National after almost a decade was thrilling. But to have Fleet Foxes support them was like being spoilt rotten.

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Annie Hamilton / Photo – @mark_francesca_

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Sydney artist Annie Hamilton donned black angel wings to give a set that hit all the right notes for what was to come. Downtempo, shoegaze music that complemented the serene lilt of Fleet Foxes and ennui of The National. The crowd even got a little taster of new music she’s worked on with WA’s Jake Webb (Methyl Ethel).

Fleet Foxes has a chokehold in the hearts of folk-rock fans and with good reason. Their music is like slipping on your favourite sweater.

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Fleet Foxes / Photo – @mark_francesca_

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The group took position close to the edge of the stage giving fans a close-up view of the different players. The melodic two-part harmonies of Robin Pecknold and Christian Wargo were an intoxicating mix that could rival the Beach Boys. The fervour of “Ragged Wood” hooked the crowd’s attention. While the haunting delivery of “Your Protector” and “He Doesn’t Know Why” dripped with nostalgia.

Their celestial harmonies in “Sunblind” to the intricate storytelling of “Third of May/Ōdaigahara were sublime. And a cover of Big Red Machine’s “Phoenix” injected a burst of energy into the set. “Featherweight” showcased the band’s talent creating an intimate moment in the grand sonic landscape of the track.

Yet, cheers of recognition came only for era-defining songs. They were “White Winter Hymnal” and “Mykonos”. Veering towards a sharper edge “The Shrine/An Argument” gave the group an outlet to let loose with its cacophony of horns. Before ending with the hopeful spirit of “Grown Ocean”.

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THE NATIONAL / Photo – @mark_francesca_

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“Once Upon a Poolside” lonely piano intro heralded The National’s return. And Berninger’s weary baritone voice was a balm for the soul. When he sang “This is the closest we’ve ever been” it proved to the be sentiment of the night, with the band intent on breaking the mould of its moody persona to deliver big rock energy.

Backing Berninger were twins Bryce (guitar) and Aaron Dessner (bass, guitar, keyboards), Bryan (drums) and Scott Devendorf (guitar, bass) who built the drama in the songs as Berninger traversed the stage like a man pleading his case. Digging deep the band took fans back with 2004’s “Cherry Trees”. A song that defined their musical style of poignantly exploring life’s complexities.

Amidst all the grandeur the band were not only at ease but having fun. “The System Only Dreams in Total Darkness” kicked up the tempo with Berninger plunging himself into the crowd for the first of several up-close interactions with fans.

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THE NATIONAL / Photo – @mark_francesca_

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And this is where The National broke the confines of their brooding narrative. With the frantic guitars and crescendo of drums and horns in “This Is The Last Time” and “Alien”. The Dessners injected the vivre needed. Especially in “Green Gloves” with blistering guitar solos and coaxing the audience as Berninger dealt with his demons on stage.

At times Berninger’s dramatic preacher-style delivery may have overridden his melancholic vocals but the band’s rich layering kept everything drum tight.

Hamilton joined later to sing “Rylan” which seemed like a gracious nod by the band. “Slow Show” was dedicated to the Bee Gees serving as a quiet moment of reflection and “Pink Rabbits” had voices singing from the darkness. The night was a treasure trove from classic slow burns like “Bloodbuzz Ohio”, “Fake Empire” and the guitar-driven fire of “Day I Die”.

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THE NATIONAL / Photo – @mark_francesca_

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Finishing with a hefty five-song encore, Berninger descended back into the audience. With the longest mic cable available in Perth, he literally ran from his inner turmoil up the hill followed by fans during “Mr November”. Those flourishes of unexpected frivolity were a pleasant surprise. Eventually coming back down to Earth, the band led a tender unplugged version of “Vanderlyle Crybaby Geeks”.

The National have spun an invisible thread with fans. Their songs sound like a whispering inner voice of the conflicts that rage within. Keeping that intimacy while delivering a rock show was impressive. The band were at their most confident and at ease, proving that if anything maybe we can still dance in a hurricane.

4.5/5

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THE NATIONAL / Photo – @mark_francesca_

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Check out Mark Francesca’s (@mark_francesca_) full gallery of this event HERE

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THE NATIONAL / Photo – @mark_francesca_

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Follow THE NATIONAL
Website – Facebook – Instagram = Twitter
4ad.com – remotecontrolrecords.com.au

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THE NATIONAL / Photo – @mark_francesca_

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Press Release 19th September 2023 (below) HERE

Secret Sounds presents

THE 1975
AT THEIR VERY BEST
AUSTRALIAN TOUR

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AMNPLIFY – DB