one of the distinguishing features National has always been the contrast between his mute baritone voice. Matt Berninger, a leader who looks more like a bohemian writer than a rock star, who seems to have been dragged from a lecture to the stage, and that rich, wonderfully instrumental setting that leads to the best epic. But in their headline late-night performances on Primavera Sound, that contrast turned into a somewhat impenetrable ditch: We don’t know if it’s due to a certain lack of energy or being ‘high’. said at one point) or because of his age that he got the ability to hit certain notes, Berninger had some trouble finding the best version of himself and matching the rest of the band in terms of expression.
It would perhaps be nice for the band to have multiple guest voices from ‘Easy to Find’ (2019), the (still) last album from which they barely saved material: piano only ‘Light Years’. He had a much larger presence repertoire ‘Trouble finds me’ (2013) was complemented by the inevitable classics ‘Boxer’ (2007) and his popular consecration album ‘High violet’ (2010). ‘Wrong for foreigners’, ‘Fake empire’, ‘Mr. November’ (Berninger, by his own admission, had forgotten his most characteristic hand gestures) or the eulogy of nostalgia and regret, ‘Bloodbuzz Ohio’, was hotly marked by the persistent post-punk pulse of the drums. Bryan Devendorf. Songs that turn defeat into victory and sadness into grace.