MUSIC PREMIERES
We catch up with The National’s Matt Berninger backstage a few hours before their Sunday night closing headline set at The Other Stage. Despite facing what could and should be another in a series of real ‘Glasto moments’ for the band, the frontman hasn’t much of a clue of what even he himself can expect. “I don’t like to know what’s going to be on the setlist, because every time is like a new flavoured gum ball,” he tells NME. “I get to take that little red pill and go to that song in a new way every time. If I knew what all the songs were then I wouldn’t be able to let go as much.”
There’s a sleepy vibe over Glastonbury tonight, with revellers seeming a little more reserved than usual after five days of music and hedonism. What better cure than indie statesmen The National – both a soothing balm and a rousing kick in the shins. When ‘Don’t Swallow The Cap’ kicks in and Berninger pulls a Jarvis Cocker-esque svelte silhouette, you know he’s ready to give Worthy Farm a sloppy kiss goodbye. It’s the shot in the arm we need. As he puts it himself on the spritely ‘Tropic Morning News’, “something has now rapidly improved”.
If you like this band, you love this band. The affection is palpable and reciprocated – both through the generosity of what you’d call “bangers” if you’re part of the cult of these self-proclaimed “sad dads”, and through Berninger getting as physical as he can with as many people as possible. During their “creepiest song” ‘Conversation 16’, he enacts the lyric “I was afraid I’d eat your brains, because I’m evil” when he attempts to devour a really rather delighted chap on the front row. For ‘Terrible Love’, he bolts past the safety barrier to play Pied Piper to the devotees who follow him with their phones.
There’s the glorious early outing of indie classic ‘Bloodbuzz Ohio’, and well-landed cuts from 2023’s double album treat of ‘The First Two Pages Of Frankenstein‘ and ‘Laugh Track‘. Kate Stables of This Is The Kit assists ‘Rylan’, while the band tackle the bleak state of politics in the US with ‘The System Only Dreams In Total Darkness’ and ‘Fake Empire’ (“This song keeps getting more and more appropriate – that is really depressing”). This is a performance of tension and release. The Dessner twins hold their axes aloft as a mirror to one another and shred into the night as Berninger loses himself again and again.
He really is taking that little red pill with each track. It’s one thing to have artfully crafted the perfect setlist for such an occasion, but it’s another to have the ability to play each and every song like it could be the last one. When the finale does come with Berninger and the crowd all choked up for the devastating ‘About Today’, we leave knowing that they couldn’t have done more.
‘Don’t Swallow the Cap’
‘Eucalyptus’
‘Tropic Morning News’
‘Bloodbuzz Ohio’
‘The System Only Dreams in Total Darkness’
‘I Need My Girl’
‘Conversation 16’
‘Abel’
‘Alien’
‘Space Invader’
‘Day I Die’
‘Light Years’
‘Rylan’
‘England’
‘Graceless’
‘Fake Empire’
‘Mr. November’
‘Terrible Love’
‘About Today’
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MUSIC PREMIERES
“I’m looking for an answer in between the lines/ Lying to yourself if you think we’re fine,” Sabrina Carpenter sings while seated gracefully on a toilet.
It is the opening night of her “Short n’ Sweet” tour at what she proudly described as “five fucking sold-out shows at Madison Square Garden.” The toilet appears within the bathroom section of her expansive stage design, which resembles a cross between a 1970s television set and a Barbie-inspired dream house from the same decade.
More importantly, Carpenter performs a heartfelt ballad, one of her signature songs blending humor and honesty in her storytelling about relationships. The track, “Sharpest Tool,” reflects on being in love with someone lacking awareness, serving as a thematic successor to her recent hit “Please Please Please.”
The toilet itself is an elegant prop with a heart-shaped lid, while the “bathroom” area is surrounded by sheer screens that display close-up video projections of her performance. Few major female pop artists today would likely deliver a serious song in such a setting. It highlights Carpenter’s willingness to approach familiar ideas with originality and confidence.
With her classic American glamour, Carpenter maintains a striking image while writing songs that address relationships and intimacy with unfiltered honesty. Those themes are presented within polished, radio-ready pop production that still holds musical depth. The pre-show playlist included ABBA’s 1979 track “If It Wasn’t for the Nights” and Diana Ross’ 1980 hit “I’m Coming Out,” acknowledging both her stylistic influences and her strong LGBTQ following.
Her audience consists largely of young girls who may not yet relate directly to the personal experiences behind her lyrics but view her as a relatable, older-sister figure. Many of their parents, especially mothers accompanying them, also appeared to be fans. One of the night’s more unexpected moments came when Carpenter led thousands of middle-school-aged fans in singing the explicit lyric “I’m so fucking horny!” during “Juno.”
The show, mostly following the same structure as her previous tour, featured the full production scale of a modern arena concert. The visual theme of vintage television carried through as Carpenter performed across multiple areas of the set, including a balcony, staircase, walk-in closet, and in front of a vanity and fireplace, supported by 11 dancers and a live four-piece band.
She changed outfits four times throughout the concert, each one sparkling and styled to highlight her signature stage presence. The setlist focused mainly on her latest albums, “Short n’ Sweet” and “Man’s Best Friend,” while including several tracks from her 2022 record “Emails I Can’t Send,” which marked her transition into a mature artistic phase. The show opened with “Taste,” included highlights such as “Manchild,” “Feather,” and “Bed Chem,” and concluded with “Espresso” during a colorful confetti finale.
Between songs, the screens played comedic 1970s-inspired mock commercials, including a parody tool advertisement using the line “The Sharpest Tool, trusted by carpenters everywhere.” The presentation also featured a fabricated “Technical Difficulties” interruption and an excerpt from a Leonard Cohen interview in which he compared writing poetry to “shining the shoes of one’s soul.” The concept was imaginative and visually engaging, though much of the nostalgia predates her audience’s generation. Still, it reflected Carpenter’s ability to merge vintage aesthetics with contemporary performance.
The most memorable parts of the concert came from her natural connection with the crowd. Familiar interactive moments filled the show, including audience singalongs, call-and-response sections, and a “surprise song” feature in which Carpenter spun a bottle to select a number, leading to a live debut of “Go-Go Juice” from her new album. She also spoke candidly with the audience, remarking that she had “been one of you” during her years living in New York, before adding, “Actually, I’ve tried to be one of you.”
Her awareness of the audience’s enthusiasm was evident throughout. She acknowledged fans directly, often gesturing toward specific sections and offering warm appreciation. Near the end, she took time to praise their creativity, saying, “I want to take a second to commend all of the amazing outfits I see.” She expressed gratitude for the crowd’s effort and enthusiasm, recognizing the fans who mirrored her signature style with platform heels, glitter, and lipstick marks on their shoulders.
From artists such as Cher, Donna Summer, and Deborah Harry to Madonna, Beyoncé, and others, many women in pop music have explored the boundaries of expression and sexuality in their art. Sabrina Carpenter continues that tradition with confidence, balancing playfulness and self-awareness while maintaining authenticity and respect for her audience.
