Much of what I wrote in my write up for the show in Chicago applies to The War on Drugs show in Madison as well. I will acknowledge a few differences in the shows, and then do a musical analysis. Firstly, Breese Stevens Field is a solid venue. A band like The War on Drugs utilizes their striking and unique sound, large outdoor venues are not the best. Nevertheless, Breese Stevens provided an exciting setting, and I think their sound was better than at the United Center. One strange aspect was the way the seating was set up, it was in front of the general admission, and was not full. So there was a big crowd standing about thirty yards out and beyond, with a bunch of open seats in front of it. This strange feeling improved as more people filled into their seats.
The set itself was nearly identical to two nights prior, with “Brothers” leading off instead of “Baby Missiles.” “Harmonia’s Dream” also moved down a couple spots in the order. Granduciel seemed a little more cheery on stage. Maybe this was because of the great weather. His frustration with the setup of the show was still clear though. At one point he started to explain a story (about Kevin McHale of all things), before saying something to the effect of “my band will not let me say anything else,” clearly aware of the time constraints. Despite being friends, Granduciel is still not happy playing second fiddle to the National.
Noticing differences between live and recorded songs is easy with The War on Drugs. This is usually true with their instrumental experimentation though. An unexpected difference is in the lyrics of their song “Strangest Thing.” Lyrically, the song addresses a common philosophical theme of their music, crescendoing throughout. The song moves through the narrator’s hazy presence with lines like “the sky is painted / In a wash of indigo” and “I’m only living in the space between / The beauty and the pain.” The final message of the song is often unclear. The revelation is simple: “be the writer of your own story.” But in the recorded version, released on their 2017 album, A Deeper Understanding, this line is gibberish. The listener can maybe make out “write” and “story,” but that is about it. When played live, it is perfectly clear. When I heard it live the first night, it was a great epiphany. The resolution is not surprising or complicated. But in the recorded version, the ennui of life is perhaps even more solidified. The upward movement of the instrumentation tells the listener that this should not be the case, that the melancholy should not remain. The answer of how to move forward is lucid only in the live performance. Perhaps a statement of the necessity of live music, it is only through hearing a band live can one understand them. It is only through writing your own story, living a proactive life will you understand yourself.
“Strangest Thing” uplifts, as do many other Drugs songs. Like some of their biggest hits, “Red Eyes,” “Pain,” and more, the song acknowledges the difficulty of life, while presenting a future of happiness. This messaging complements their nostalgic mid-2010s sound. This sound has a certain depth to it that is unmatched by other bands. This is not to say they lack range, but perhaps that this genre of The War on Drugs will continue to resonate.