The National – Rome (4AD) (13th Floor Album Review)

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The National are no strangers to the release of live material. ROME is preceded by a record store day release of Boxer Live in Brussels, the intentionally average sounding, direct to cassette recording Juicy Sonic Magic and 6 volumes of Cherry Tree live recordings released through their fan club.

To me, The National’s live releases seemed inconsequential; listened to once and set upon the shelf to gather dust. I love this band, yet the depth of sound and visceral excitement of the live show generally failed to translate into the audio document. Thus, my curiosity piqued whether ROME would be another one-and-done live release, or whether their first ‘official’ live album might sink its teeth a little deeper.

ROME is a recording taken from their show on June 3, 2024 in the Italian capital. Press surrounding the album stressed that it was completely live, with no additional overdubs. The set list was 26 songs in total, however we are presented with an abbreviated 21 song live album; presumably so that the album could be issued as a standard release across 2lps.

On first listen, it is immediately clear that ROME is by far the most grand and cinematic sounding live document available so far. Drums and lead vocal is front and centre, the Dessner brothers are panned to either side, layers of texture and accompanying instruments tastefully distributed across the soundstage. There is a high level of detail and smooth definition in every instrument that is pleasing to the ear. The band is further elevated by the sound of an enthusiastic audience, who bring the volume in the high moments and witness the show with near silence and full attention in the numbers that call for it.

Mixing credit for ROME is given to Peter Katis. He was also behind the desk for all the band’s most acclaimed studio albums. The formula is a success, and finally, The National have released a live album that lives up to the actual concert.

Opening with the gentle deep cut Runaway from 2010’s High Violet, the song effectively builds anticipation, singer Matt Berninger delivers lines with added feel and emphasis. Eucalyptus and Tropic Morning News capitalize on the restraint of the opener with full volume and consistent intensity.

From Don’t Swallow The Cap onwards, I became fully absorbed in ROME. While the setlist has a nice balance of fan favourites and more well-known songs, the overall performance elevates beyond the specific songs played, and I felt entirely open to whatever song came next. There was no lull in quality, right through to the final audience lead notes of Vanderlyle.

As a whole, there are a couple of themes that emerged while listening to ROME. The band are experts in subtly increasing the intensity of a song until whipping it fully into a swirling wall of sound. Many of the songs here sound bigger and wider compared to their studio counterparts.

The instruments are accomplished and precise, which stand in contrast to singer Matt Berninger who trades accuracy for passion. Sometimes he shouts the refrain, pushing his voice to the edge of breaking. He’ll occasionally sound winded and miss a syllable so that he can steal an extra breath. Yet his raw performance is exactly what makes his delivery so compelling.

I am pleased to report that ROME is a live album that I’ll be returning to with frequency. If you haven’t seen The National live, ROME is the next best thing. An exhilarating concert recording.

Chris Warne

 

Chris Warne
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