When I first heard of The National, they carried this underwhelming title of being a ‘dad band’ — a label that dominated most of the commentary I heard of them and left me unprepared for what I should’ve expected. Walking into The Mann Center on Tuesday and seeing no one remotely like me in the crowd, I felt an added layer of doubt. I was curious and confused about their lore: their looming presence among what some in my generation consider the elite (but I’d say cult-like) musicians of today. I needed to understand: Who is The National, and why are they so mysterious, yet selling out The Mann Center on a Tuesday night?
My journey into understanding began with opener Lucius, an impressively tight double percussion and keyboard five-piece that opened with “Nothing Ordinary” from their debut record Wildewoman. They broke up the instrumental rushes with a four-part vocal harmony and a guitar solos. “We are so happy to be here… it’s a joy sharing the stage with so many musicians we love and admire,” they said. One of those musicians was The War on Drugs’ Adam Granduciel, who they brought out on their new single “Old Tape” for guitar support. The 2022 NON-COMM vets didn’t disappoint, ending full circle with “Genevieve,” an oldie from the same debut they started with. The crowd was clearly satisfied but ready for more.
Lucius | photo by Danielle Ciampaglia for WXPN
Philly-born and bred rockers The War on Drugs helped pack the house and set the tone for the rest of the show, bringing a rich sonic palette produced by their stellar setup. One particular element that stood out to me was the four keyboard and synth rigs at each corner of the stage; I knew we were in for some insane instrumental layering. The lights transitioned from a muted pre-show glow to a vibrant purple and yellow that highlighted each of the seven members. They chose “Baby Missiles” as their set opener, laced in bright synth over a simple drum pattern—which didn’t showcase the full extent of drummer Charlie Hall’s abilities (that would come much later). The mingling of sounds intensified when the harmonica kicked in halfway through, creating a euphoric essence. Throughout the show, the band members displayed their multi-instrumental talents, swapping instruments; sometimes a saxophone would appear, or a bass would turn into an acoustic guitar in seconds. They kept things interesting during their long set, which was graciously extended for this hometown performance. “Glad to be here with our friends Lucius and The National—it’s a dream to play here; we’ve got a lot of friends in the crowd,” Granduciel said.
The band’s lighting captured the spirit of their sound and aura. In the interlude into “An Ocean in Between the Waves,” fog filled the stage, silhouetting the band against a heavenly white canvas. The following slow-tempo drum beats were highlighted by white spotlights, and “Harmonia’s Dream” featured sparkly lights beaming shades of red and blue, hinting at the next song, “Red Eyes,” which lyrically mirrored the feeling of watching them on stage. “Don’t wanna let the dark night cover my soul / Well, you can see it through the darkness coming my way,” Granduciel sang as daylight faded into night. “Eyes to the Wind” was a standout performance for both Hall and Granduciel. Hall made drumming look effortless — he’s so swift and casual, yet puts his whole body into every groove, fully immersing into his playing. Granduciel’s solo in the song is a must-see live: it’s packed with raw emotion, the kind that leaves you teary-eyed by the end.
The War on Drugs | photo by Danielle Ciampaglia for WXPN
The band recently released a live album, Live Drugs Again, which I saw in the hands of many fans. After experiencing their live performance, I’m convinced it has to rank highly among some of the best live records to date, close to one of my favorites, Bruce Springsteen & The E Street Band’s Live in New York City. The War on Drugs’ brass and keys, unique lead vocals, and powerful drumbeats make them a beloved act that deserves far more recognition.
As impressive as The War on Drugs were, The National’s stage presence was unmatched—unruly in the best way. A screen displaying Paul, the figure from the covers of their last two albums, initially felt difficult to grasp. After digging deeper, I realized Paul represents lead singer Matt Berninger’s struggle to reconcile his rock star persona with his life offstage. Their songs often reflect a conversation between two sides of a person — like an internal Frankenstein’s monster — or the mask you wear for strangers while, deep down, you’re still the same kid you’ve always been.
One thing I quickly learned during opener “Don’t Swallow the Cap” was that The National’s body of work — though beautiful and sad — is also explosive. The music immediately coursed through my veins, reviving me after a long intermission. “The War on Drugs and Lucius are literally the best; thanks, you guys, for joining us,” said Berninger, launching into First Two Pages of Frankenstein’s second track, “Eucalyptus,” where he began moving around the stage, working the crowd—just the beginning of a lot more audience engagement to come.
The National | photo by Danielle Ciampaglia for WXPN
Those movements were amplified by the background video projection of the stage in real time, adorned with colorful distortions that changed shape or pattern with each song. “Tropic Morning News” had its lyrics projected in the background. It had a new wave feel, with a more ’80s-style electric guitar and boxer drum tone, as an elongated riff flowed through the entire song. “The System Only Dreams in Total Darkness” was a bit chaotic due to a miscommunication between Berninger and two audience members who took his “come on up” (closer to the stage) too literally. Somehow, they managed to get up on the stage and tried to steal the mic to sing the lyrics themselves. I hope they weren’t sold more drinks after that. Not sure how security let them through, but Berninger handled it well, not pausing the performance, and the fans eventually left without disrupting the song.
Later, like those two fans, Berninger invaded the crowd’s space—this being more welcome. He waded through the audience on The Mann Center’s orchestra section catwalk, making him look from afar like he was floating above the audience like a god. His blunt humor was delightful in moments. During “I Need My Girl,” he joked with someone in the pit, “Can I get the pick back? Just kidding.” Before “Space Invader,” he told a quick story about writing it and comically re-introduced the song after just introducing it seconds ago, getting me and others to chuckle.
The National | photo by Danielle Ciampaglia for WXPN
The projection now showed colors reminiscent of The Breeders’ Last Splash, adding a more tame, gentle vibe before crescendoing when the drums came in. I was far enough from the stage to be surprised when I could feel the bass drum in my chest during the drum solo from Bryan Devendorf. He continued to chop it up on “Day I Die” from their 2017 album Sleep Well Beast. Humor returned when Berninger joked about his impromptu vocal moment at the end of the song: “That wasn’t part of the song—this was a trouble improvisation to do. Thanks, everyone—this one’s called “Light Years.”” The pianist took the spotlight during the intro, while Berninger added more humor: “Yes, go ahead, take your flashlights out…Now, security, can you confiscate all the phones?” he teased during one of the most emotional songs in the set, making it more lighthearted.
The crowd loved these playful moments, especially when Berninger swapped the lyrics in “England” to nod at Philly, “I’m in a cathedral in Philly,” which thrilled the already ecstatic crowd. Aaron Dessner’s bassline and the high-hat paradiddles stood out in this track. I knew what to expect from “Graceless,” as I’d heard Berninger usually enters the crowd for it, but I didn’t expect to be face-to-face with him midway through. I was seated above the boxes, so when he got off the risers and worked his way up the perimeter of the pit—microphone cord lifted by a crew member—it was surreal. This was unlike anything I’d experienced before, instantly shedding my idea of them being just “dad rock.” If you’re still not convinced, I’ll say it as bluntly as Berninger: They are something special.
The National | photo by Danielle Ciampaglia for WXPN
And that wasn’t even the end—the encore hadn’t started yet, and Berninger had energy left to spare, showing no sign of fatigue but maybe a little memory loss. “I have no idea what this [next song] is gonna be,” he quipped, before answering himself, “Now I do,” under a blue hue. The three-song encore showcased some of their earliest tracks, like “Mr. November,” which sounded so fresh and new live. “About Today” was a mellow acoustic number, the perfect way to cap such an energetic performance. The entire band lingered on stage after, handing out setlists and saying their goodbyes, exceeding my concert expectations and finally providing me the context and meaning behind the Paul character and Berninger’s onstage persona. I’m still in awe. Bravo.
The National and The War On Drugs’ 2024 tour has made its way to Canada, where the bands play tonight at Place Bell in Laval and Friday at Budweiser Stage in Toronto; full dates here, check out more scenes from the Philly show below.