The National + Menomena - The Moore Theatre (Seattle, WA; Sept. 19, 2008)

Menomena can be a very smooth word if said fluently, or very static if broken up: Meh-Nom-Eh-Na, and this is actually a pretty good description of what the band sounded like at The Moore Theatre in Seattle. Sometimes they’re fast and fluid, poppy like Death Cab for Cutie while at other times reflecting more of a jarring sound with instruments and pedals all going at the same time. All three members of Menomena perform on multiple instruments and cover vocals depending on the track, at times slowing down the fast paced instrumentals to slip in a few lyrics. Danny Seim, the drummer (who was not wearing shoes or socks) was perhaps the most entertaining of the bunch. It was impressive that while drumming he kept a driving tempo because when not playing he was wandering around stage dropping his water and rocking arythmically to several beats. Brent Knopf played mainly keyboard and guitar at the same time while lending his higher voice (somewhat reminiscent of Colin Meloy’s intonation) to many of the lead vocals. Justin Harris (bass guitar, electric guitar, and bari sax) drew some loud applause when he switched over to the sax, largely I would guess due to the fact that this was a divergence from the usual indie/punk rock setup, but I thought it might have been better employed on a tune he wasn’t also trying to sing. Menomena has a garage band look and feel, but their music is about two steps above in a refreshing sort of way. The trio all kept incredibely busy on stage with their multiple parts, also throwing in a laptop of midi samples and an impressive array of pedals (largely used by Harris). Their music is mainly quick tempo with the occasional break that confused the audience into clapping just as the band started playing again.

The National

It’s difficult to describe what it feels like to experience the music of The National. Now, I realize that this is a music review site, so I should probably be doing just that, describing with grandiloquent expression what makes them so damn special. But I really can’t. They perform the type of sullen and bittersweet music that makes everyone close their eyes and retreat inward. They’re universal and intimately personal with sometimes odd yet honest and real lyrics. More than this, they create a distinct mood with their music, the type I often feel is best experienced sitting down alone in my room at night with only one soft light on, perhaps reflecting on the simple things that make up life. If you are familiar with The National, I assume you know what I’m talking about and have probably left their album(s) on running on repeat at least once . . . .

Live, Matt Berninger’s voice sounded a bit different, dare I say, “off,” from their recordings, especially at the beginning of the set. He later explained that he recently quit smoking- ah, that would do it- and was loosing his voice as he sang. He also threw in a bit more emotion into his basically calm and directing voice, which he uses so effectively to tell a story yet still requires multiple listens to really hear what he’s singing (thus I recommend familiarizing yourself with their albums prior to a concert). Their closing number, “Mr. November,” still featured the same haunting screams of the album, as Berninger stepped slightly away from the mic and continued to howl and vertically thrash around the stage (I was surprised he didn’t knock his mic stand over). Frantic in his movements yet without an instrument, I kept thinking, “Someone get this man a tambourine, or at least an egg shaker!”

While Berninger plays the leading singer/mysterious front man role well (e.g., saying “Fuck it!” and then wandering away from the mic), the full sound that emanated from the stage was produced by brothers Aaron & Bryce Dessner on guitar (mainly) and Scott & Bryan Devendorf on bass and drums, respectively, along with four additional musicians filling out on keys, trombone, trumpet, and bassoon! (Thomas Bartlett, Ben Lanz, Kyle Resnick, and Rachael Elliott, respectively). While a bit shy in their stage personas, both Dessners stepped to the front of the stage to hold their gutiars, neck to the sky, and display fast strumming. I particularily liked the guitar on “Squalor Victoria,” where the sound was somewhat reminicent of U2 with its bright, sustained notes creating a wall of guitar sound. The National at times plays around with tempo, slowing down several tunes including “Slow Show” and “Apartment Story.” Fortunately, they have Devendorf on drums who keeps steady pace behind the slow singing of Beringer, surging guitar, and quick and echoey keys. (If you want a solid example of this, listen to when the drums kick in on “Fake Empire,” at 1:16). Another live highlight was “Racing Like a Pro,” which they performed with a slow swinging, jazzy tempo of staccato keys, walking bass, and soft mallet and shaker percussion.

The National kept the chatter to a minimum, speaking briefly several times to thank and support Co-Op Rocks (the concert was a benefit supporting farmer relief), praising local radio station KEXP and to dedicate “Abel” to “50/50 Menomena and [the sadly deceased] Crocodile Cafe.” Overall, I loved the historic venue, the cause, and the music and I hope Berninger’s voice recovers because The National plays with a passion and feeling that is definitely worth seeing in its tip-top state.

The National Set List
(featuring a healthy and heavy dose of The Boxer )

01—Start a War
02—Brainy
03—Secret Meeting
04—Baby, We’ll be Fine
05—Slow Show
06—Squalor Victoria
07—Racing Like a Pro
08—Abel
09—All the Wine
10—Mistaken for Strangers
11—Ada
12—Apartment Story
13—Daughters of the Soho Riots
14—Fake Empire

Encore
15—Green Gloves
16—Mr. November

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