National’s total congregation

In front of more than 10,000 people (there were some gaps in the stands at the Wizink Center in Madrid), The National devoted itself until it confirmed absolute unity with the participants. Before them came the more than solvent Bartees Strange, who led a band to be reckoned with in the future. Moments later, Berninger is tall, elegant, with the look of a cross between a senior executive at Deloitte and a supporting character at Deloitte. Subrogation When he was about to buy the company from Roys, he needed 20 songs to speak to this dignitary; Aaron Dressner was responsible for presenting the songs and reminding the public of that first performance at the Moby Dick hall in Madrid in 2005. The first ‘thank you’ was heard almost two hours into the performance, but Berninger has dozens of ways to engage with the audience without speaking, addressing them with gestures and non-verbal communication while performing the pieces. A deep pain that he shares with all his pains and with the people on the track. The conversation is left to Aaron, who is not just anyone. It’s the point of this instrumentalist and producer that Taylor Swift owes her overwhelming growth as the undisputed queen of today. Swift’s latest albums can be attributed to the Brooklyn-based band.

The National came to Spain to present its last two works. The first two pages of ‘Frankenstein’ And Laugh TrackTwo powerful albums, both released in the same year, the old-fashioned way, the first born out of Matt Berninger’s depression during 2020’s pandemic quarantine, two works that are the result of the band’s creative randomness. Laugh Track This is by no means a collection of throwaways, but rather the result of a state of compositional elegance arising from the ‘abyss’ (as the songwriter and singer describes) that was about to tear the band apart after 20 years of activity.

National creates inexplicable magic based on instrumental solidity and charisma. soloist. Inexplicable because, unlike other contemporary bands, The National don’t have a catchy, hummable repertoire, and that doesn’t pose a problem for their fans. The bulk of attendance at his shows, and Wizink’s was no exception, ranged from 30 to 60 men and women.an adult, sophisticated audience that doesn’t come to jump in the front row and prefers a quintet in the privacy of a single concert over the anarchic noise of festivals.

And so the pieces of the story started to fall out. set list Up to 29 songs were added in Madrid, some of which were compared to previous performances in Europe. They arrived soon Eucalyptus And Tropical Morning Newsrelated to First two pages… The latter was already born a classic. And so they fell Don’t Swallow the Hat, Bloodbuzz Ohio, I Need My Daughter, The Cherry Tree, The Day I Died, Pink Bunnies… up to a repeat round with five weapons. Then yes. Expected. Attention to the assistant responsible for extending the microphone cable: Matt Berninger left the stage and walked from the middle of the Wizink floor into the audience., in complete communion with the girls. It happened while performing Mr Kasim and repeated with space invaderend by inviting the public to sing acoustically Vanderlyle Crybaby Enthusiastsfrom the album High VioletThey closed the performance. Then the catharsis reached its peak, at that moment the artist became one with the person who gave meaning to his art. Berninger is no longer banging his head on the microphone as we’ve seen before, but he’s still inundated with a thrilling, wonderful melancholy.