The National
Rome
4AD
The National have been soundtracking quarter- and midlife crises since 1999, well before the band members found the troubles of midlife themselves. The Brooklyn group has done quite a lot of self-examination across the 10 studio albums and complementary EPs and live recordings they’ve released since forming 25 years ago. Now comes the latest victory lap, a live double album called Rome which was recorded at the beautiful open-air Parco Della Musica Ennio Morricone venue over the summer. Mixing the 21-track double-dose live set that spans the band’s entire discography is Peter Katis, who’s always had a close personal connection to the band. The cover of Boxer even features a photo of The National playing at Katis' wedding reception.
Lately the veteran group has excelled more in a live setting than on their studio recordings. Two recent examples are last year’s companion LPs First Two Pages of Frankenstein and Laugh Track, better known for their refinement than the more reinventive blasts heard on Trouble Will Find Me, High Violet, and Boxer. On Rome, though, newer tracks such as “Eucalyptus,” “New Order T-Shirt,” “Tropic Morning News,” and “Smoke Detector” sit well alongside classics such as “Mr. November,” “Bloodbuzz Ohio,” “Fake Empire,” and “Graceless.” Curiously absent from the setlist is any track from the vocal collaboration-rich I Am Easy to Find or the band’s self-titled 2001 debut.
Show opener “Runaway” is the rarity surprise right at the top of the concert, before the band settles in with some newer material. By the time the middle section of this epic setlist hits (“Lemonworld,” “The Geese of Beverly Road,” Sleep Well Beast’s “The System Only Dreams in Total Darkness,” and “Lit Up”), the crowd is firmly in frontman Matt Berninger’s hands. Oftentimes the mics pick up enthusiastic engagement from the Italian crowds, which sets the scene well for Rome’s campfire encore featuring the aforementioned election anthem “Mr. November,” High Violet’s “Terrible Love,” and the show-closing torch sing-along, “Vanderlyle Crybaby Geeks.”
Rome finds The National at the peak of their powers, self-curating a rollicking setlist they know will stick the landing every time. It’s a true joy to listen to overall, and even if it sounds workmanlike at points, Rome is a triumphant encapsulation of a band celebrating their history before notching a few more chapters into their long-running career of cataloging the American man’s foibles, strengths, loves, and beautiful brokenness.
