When I first heard that Bruce Springsteen was a fan of The National, I have to admit being a bit puzzled by the connection, but after thinking it over some, it began to make more sense. Sure, Springsteen treads the populist path laid out by Pete Seeger and Woody Guthrie, and The National pay homage to the likes of Joy Division, Nick Cave, Sonic Youth, and Leonard Cohen. Yet, what unites these two is their flair for the dramatic and their transformation of mundane reality into sublime art, achieved by bravely and unflinchingly exploring the "darkness on the edge of town," the flipside of the American Dream.On their amazing new record Boxer, The National, like Springsteen, brilliantly and poetically capture those private moments when the innocence and effortlessness of youth have dried up, leaving us adrift in a drab, material existence with fading hopes, gnawing dissatisfaction, and a tinge of loneliness. These are meditative songs, internal monologues that keep us company as we wander into the wee hours of the neon-lit night, trying to make sense of what it is to be human in modern-day
2007 has been a triumphant year for The National, marked by an astonishing run of five consecutive nights of sell-outs at
