WITH Glasgow playing host to the majority of big-name concerts over festival season, it’s easy to overlook the annual Edinburgh Castle shows, a mix of legendary names playing in front of one of the most stunning backdrops that we have to offer.
Sandwiched between Manic Street Preachers and Skipinnish, “Sad Dad Rock” quintet The National are hot off a well-received Glastonbury appearance.
Their popularity has been growing steadily since their 1999 inception, with comparisons to Radiohead, Nick Cave, and Leonard Cohen. Even if – like me – you’re late to the party, there’s plenty to love about this band.
If it’s your first time at one of the Castle’s gigs, it’s difficult not to be astounded by your surroundings. Although the grandstand seating and stage obscure the Castle (unless you keep to the very back of the standing area), the history and atmosphere is almost palpable.
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The opener for tonight is Bess Atwell. Originally a solo artist from London who now has a full band that lifts and fleshes out the songs with instruments and impressive harmonies. Produced by The National’s Aaron Dessner, she’s known for her frank and personal lyrics.
Atwell’s voice has the best parts of Lana Del Rey and Regina Spektor, drenched in atmosphere and soul with an accent reminiscent of a softer Kate Nash. The songwriting walks the line between complex and effortless, with accomplished guitar picking that forms the perfect bed for the lyrics. There’s some endearing storytelling covering for a technical hitch prior to one song and the obvious nervousness of the situation makes Bess all the more likeable.
The stage is set out with an abundance of instruments, including numerous keyboards, brass, drums and a piano. It’s proof of the talent of the musicians that we’re about to witness when the instruments outnumber the artists.
A video wall behind the band flashes a mixture of footage from the stage with colours and textures which build with the intensity of each song. It was also used to great effect in showing the band backstage in front of the Castle prior to walking on stage to begin the show.
There are even strobe lights throughout, which you wouldn’t anticipate listening to the recordings of the band – it seems a bit overkill, but they serve to lift the whole performance to another level.
Frontman Matt Berninger’s voice is a lush baritone that he pushes through instruments that go from gentle, melodic passages to galloping choruses via powerful swells. His stage presence has a beautiful awkwardness to it as he drags a microphone cable back and forth across the stage while performing to the crowd.
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There’s a sincerity to his performance that just can’t be faked. With Berninger, you feel that you’re in the presence of an introvert who’s fighting through it to sing you his songs, and that makes you appreciate them even more.
There are proper dad dance moves (especially when walking onto the stage to Talking Heads ‘Slippery People’), toying with the set and lights, hands in pockets, and plenty of drifting towards the back of the stage when his band mates take the spotlight.
Fans at the front of the barrier hold signs informing Berninger that tonight marks the 50th time they’ve seen him live and he seizes the opportunity to take the signs and display them on the stage mid chorus of ‘Eucalyptus’.
The connection between artist and fans is strong and you can feel that’s the most important thing to our front man – so much so that he gifts a jacket (complete with Coldplay design) to a fan and gets as far into the crowd that his microphone cable allows during ‘Terrible Love’.
The set is full of fan favourites and a handful of tour debuts – ‘Slow Show’, ‘Sorrow’, and ‘Baby, we’ll be Fine’. ‘Light Years’ came with a touching dedication to Dougie Macindoe while ‘Mr. November’ was dedicated to late Frightened Rabbit front man Scott Hutchison. Atwell comes back out for ‘Rylan’ and her return is very welcome.
The chat between songs was often political with mentions of Biden, America (and its being in the toilet), access to abortions, pride month, and calling for a ceasefire in Gaza. The pauses between songs are almost as important as the songs tonight.
On paper, The National shouldn’t be this good. They’re a niche, multi-instrumental indie band fronted by the most understated front man in music.
But in the flesh, they consistently prove that they can fill arenas – and castles – and make the biggest space feel as intimate as an undersold club gig while putting on an incredible show.
If you’ve not heard the band, you’ve probably heard the hype...and tonight has proven that you should believe it.
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