The Mountain Goats, with Megafaun
Thursday, March 24 at The National
My discovery of the Mountain Goats had a lot to do with skateboarding. In a short segment on a DVD from Transition Magazine, I watched as John Darnielle attempted to skate for the first time in years. I found myself mesmerized by his ability to place such importance on something easily considered arbitrary. Following this segment, he provided a commentary for a live performance of his song “Southwood Plantation Road.” I was at Plan 9 the next day, and purchased a copy of Tallahassee soon thereafter. However, despite my adoration of his work, I found it very easy to avoid seeing The Mountain Goats live. Darnielle made many visits to the Washington DC area, and I believe he even did a set at a local university at one point or another. It was only with his recent show at The National that my fate would finally direct me to seeing one of my favorite living songwriters.
The Mountain Goats, with Megafaun
Thursday, March 24 at The National
My discovery of the Mountain Goats had a lot to do with skateboarding. In a short segment on a DVD from Transition Magazine, I watched as John Darnielle attempted to skate for the first time in years. I found myself mesmerized by his ability to place such importance on something easily considered arbitrary. Following this segment, he provided a commentary for a live performance of his song “Southwood Plantation Road.” I was at Plan 9 the next day, and purchased a copy of Tallahassee soon thereafter. However, despite my adoration of his work, I found it very easy to avoid seeing The Mountain Goats live. Darnielle made many visits to the Washington DC area, and I believe he even did a set at a local university at one point or another. It was only with his recent show at The National that my fate would finally direct me to seeing one of my favorite living songwriters.
By the time I arrived, Megafaun had already begun their set. They were full of high spirits, which translated into an animated live show that certainly won over the crowd this evening. Whether this was through incorporating the audience into certain moments of their set, or just delivering well-written songs that couldn’t be ignored, Megafaun let their presence be known. Throughout their set, they discussed their relationship with Richmond via local outfit Fight The Big Bull. Due to their reception at this show, I can only imagine that they will be coming back to Richmond as soon as they possibly can.
When thinking of The Mountain Goats, I inevitably consider what role literature can play in basic song construction. The approach to this medium varies incredibly between songwriters. Take Colin Meloy of The Decemberists, for example. He may be an instant association with this idea of songwriting. Yet, the way he executes this premise has the potential to alienate many listeners. He enchants his audiences with songs about sea shanties and distressed maidens from another time. There is so much to absorb from what he delivers, but there is still a looming sense of distance that can’t be ignored. I find Will Sheff of Okkervil River to be more of a relatable archetype for this genre. Sheff is able to dissect situations in a more direct manner than any of the notions laid by Meloy. Of course, his songwriting lends itself to the more well-read crowd of music listeners, but he doesn’t ignore his ability to emote in more simple terms. If he wants the world to know that he just wants to be near a woman he once loved, he is more than happy to let them know.
The reason I mention those two songwriters is because I think Mountain Goats leader John Darnielle is much more complicated than either of them. He surpasses an idea of discovering a middle ground, and creates his own medium. Perhaps there is no reason that The Mountain Goats should be as popular as they are. If an introduction to the group was based on the early cassette releases, I doubt anyone would turn their attention towards this project. [On the contrary, the early cassettes were what got me into them, and are still my favorite releases of theirs–ed.] They may take on more of a Daniel Johnston-esque appeal in that case, which is admirable, but doesn’t quite cut it.
Instead, Darnielle is truly enchanting as a human being and a storyteller. It’s incredible to see what he can reveal in a single lyric, and how much emphasis he places on basic consideration of the human spirit. There is always something at stake, and it is never as simple as it seems. There is a reason people have declared Darnielle to be one of the best non hip-hop lyricists of all time. There is a reason people stop in their tracks when they hear cuts from Tallahassee or The Sunset Tree or Get Lonely. That is why The National was packed on this Thursday night. The audience came to hear Darnielle’s musings, and to allow themselves to let go of past woes for a single evening.
The Mountain Goats split their time on stage between Darnielle solo and full ensemble performances. Both representations were effective, and offered a wonderful perspective on the evolution of the group. It allowed Darnielle to take on several variations on his role as the core of The Mountain Goats. He could be the lead singer during a cover of Silkworm’s “Plain,” with the lyrics taped to his mic stand. He could be the man singing to a girl he once saw bullied in a high school hallway in “You Were Cool.” There were moments where he could just be a retrospective child in the eyes of his parents, or a person still seeking familiarity in glimpses of memories from a past relationship. These roles were all contained in tracks from The Sunset Tree or Get Lonely.
I know it’s cliché to say, but there was never a dull moment during this show. Darnielle was charismatic when he interacted with the audience, and his storytelling exceeded the boundaries of his music. There were moments of sadness, laughter, tragedy and joy. It may have been in the initial closer of “This Year” that I saw the level of camaraderie that existed in his words. In a single refrain that expressed a desire to make it through an awful year, everyone rejoiced in that hope. They shouted along with beers in hand, and couldn’t shake the grins as they looked at what surrounded them. Seeing how much Darnielle enjoys what he does and how well he accomplishes it created a special vibe. Whether it’s in the awkward, charming dances that he engages in between verses, or the way he seems to wish that he could transcend the microphone, these components all add to his significant presence.
I don’t want to put too much weight into this, but I think there is something truly special about being a Mountain Goats fan. There is something shared, and perhaps even something borrowed. John Darnielle is just something else entirely. In his songwriting and his performance, he is hope personified in the most beautiful ways imaginable. I wish it hadn’t taken so long for me to realize this, but I am all the better for it. As Pablo Picasso put it, “Art is a lie that makes us realize truth.” In every Mountain Goats song, there is a truth to be sought, and Darnielle has no problem providing us with it.
Words by Shannon Cleary
Images by Ken Penn
