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The National perform on Conan tonight
The National perform on Conan tonight
I didn't really think This Is the Last Time worked very well as a tv performance song.
Yeah - it was okay. So far, Graceless on Colbert is my fav of their TV show performances for this album.
lol - true.No fair, as good as this is the last time is, it would have to be a pretty shitty version of graceless for that song to even compete.
Interesting - that's the only song on the new album that hasn't grown on me yet. I thought the live version at the Greek was decent, but not enough to bring the song to life for me.That Barclays boot is the first time I've listened to a bootleg all the way through in ages. What a fantastic set. Pink rabbits has officially grown on me.
His voice is fine in the studio version. Still my favourite song from the record, the ending is out of this world.
His voice is fine in the studio version.
The biggest problem he has is that, as with most people with lower registers, he doesn't project well. Which means he spends much of his live performances trying to amp up the volume on his voice, which both lessens the texture of his baritone and wears his voice out so that his voice is mostly gone by two-thirds of the way through the concert. There are almost no good live versions of Mr. November vocally because his voice is usually shot by the time they play it in a typical set.
Watching the Graceless they played on Kimmel the other night is a particularly good example. Compare that to, say, the Graceless they did on the Barclays bootleg. He's just straining so much more on the latter because he's been fighting it for 16 or 17 songs at that point.
The funny thing is that both approaches, the tough but haunted baritone of the records and the exhausted, shattered baritone live both make sense with the songs. They're slightly different angles, but they're clearly the same narrator.
The biggest problem he has is that, as with most people with lower registers, he doesn't project well. Which means he spends much of his live performances trying to amp up the volume on his voice, which both lessens the texture of his baritone and wears his voice out so that his voice is mostly gone by two-thirds of the way through the concert. There are almost no good live versions of Mr. November vocally because his voice is usually shot by the time they play it in a typical set.
Watching the Graceless they played on Kimmel the other night is a particularly good example. Compare that to, say, the Graceless they did on the Barclays bootleg. He's just straining so much more on the latter because he's been fighting it for 16 or 17 songs at that point.
The funny thing is that both approaches, the tough but haunted baritone of the records and the exhausted, shattered baritone live both make sense with the songs. They're slightly different angles, but they're clearly the same narrator.
I raised something along these lines a while back, based on my limited observations, and everyone said they noticed nothing of the sort, I was completely wrong, etc etc.
I'm not sure that they will be around for that many more years though. The odd interviews leave the impression that it might be one more record and bye-bye, just based on how they're feeling themselves.
You said something about how Matt "wasn't there" live. My post, while nothing the vocal differences, quite clearly says that both his live voice and studio voice are quite effective at getting the songs across.I raised something along these lines a while back, based on my limited observations, and everyone said they noticed nothing of the sort, I was completely wrong, etc etc.
I raised something along these lines a while back, based on my limited observations, and everyone said they noticed nothing of the sort, I was completely wrong, etc etc.