In the mid-2000s, the indie music scene was undergoing a renaissance. Post-punk and garage rock revivals were in full swing, and bands with catchy guitar riffs, dance-infused rhythms, and a sense of rebellion had the spotlight. Groups like The Strokes, Interpol, and Bloc Party became iconic figures in the modern rock landscape. Their sound defined the era, but one band stood apart with a sound that felt more urgent, cerebral, and refined: The National.
Though often grouped with the post-punk revival movement, The National’s approach was distinct from their peers. Their third album, Alligator, released in 2005, marked a turning point that would propel them to critical acclaim and commercial success. Two decades later, Alligator remains a defining moment in indie music and the genesis of one of the 21st century’s most iconic indie acts.
The National’s roots stretch back to 1999 when frontman Matt Berninger and bassist Scott Devendorf crossed paths at the University of Cincinnati. With Scott’s brother Bryan on drums and Aaron and Bryce Dessner, childhood friends of the brothers, on guitars, The National was born. Their 2001 self-titled debut, self-released and largely overlooked, showcased a country-tinged style that would evolve over time.
In 2003, Sad Songs for Dirty Lovers marked a notable improvement in their sound. Combining folk, post-punk, and indie rock influences, it demonstrated the band’s potential for a more expansive and nuanced approach. The 2004 EP Cherry Tree earned them further attention, eventually leading to a deal with British indie label Beggars Banquet Records. This allowed The National to quit their day jobs and devote themselves fully to their music.
By 2005, the post-punk revival was at its peak, and expectations were high for The National’s third album. However, their introspective, highbrow approach to indie rock set them apart from the genre’s mainstream appeal. When Alligator dropped in April of that year, it exceeded expectations with its polished production, distinctive sound, and unique flair.
While it didn’t top the charts, selling over 200,000 copies worldwide and earning a Silver certification in the UK, Alligator signaled a new chapter for the band. The album garnered widespread critical acclaim, appearing in year-end and decade-end lists for its innovative songwriting and fresh take on a saturated genre.
A key moment from Alligator was the closing track “Mr. November.” Though not released as a single, the song quickly became a fan favorite. Initially written about the 2004 U.S. elections and John Kerry’s loss to George W. Bush, “Mr. November” gained renewed significance during Barack Obama’s 2008 campaign. Over time, Berninger’s frenetic stage presence during live performances turned “Mr. November” into one of the most celebrated songs in the band’s catalog.
Looking back at Alligator 20 years later, it’s clear why the album received such praise. Despite its muddy production, it still feels fresh and vital to indie music. With a more subdued and melancholic take on post-punk revival, the album moves away from the danceable riffs of their contemporaries, favoring a more intellectual and emotionally charged approach.
Aaron and Bryce Dessner’s inventive guitar work shines throughout the album, from the fiery “Lit Up” to the somber “City Middle.” These guitar-driven moments are perfectly paired with Berninger’s distinctive vocal delivery and evocative lyrics. From the vivid imagery of “Daughters of the Soho Riots” to the intimate reflections of “Karen,” Berninger masterfully evokes a range of moods and emotions, creating songs that resonate on a deeply personal level.
Alligator also captures the energy of New York, a city brimming with underground culture and creative expression. Themes of heartbreak, vice, longing, and loneliness permeate the album, making it both deeply personal and universally relatable.
Alligator marked the moment when The National began to truly define their sound. The album retained the raw energy of their early material but added a layer of sophistication that would define their future work. From that point on, the band’s rise to success seemed inevitable. Their next two albums, Boxer (2007) and High Violet (2010), solidified their place as indie rock heavyweights, gaining both commercial success and critical praise.
As The National entered the 2010s, they became mainstays at festivals and arenas, known for their thoughtful lyrics and emotionally charged performances. Albums like Trouble Will Find Me (2013) and I Am Easy to Find (2019) continued to demonstrate their ability to balance artistic integrity with mainstream appeal.
The National’s success paved the way for other indie acts to find commercial success without sacrificing their artistic vision. Bands like Foals and The 1975 have followed in The National’s footsteps, blending indie sounds with mainstream pop sensibilities.
The band also gained attention for their collaborations, most notably Aaron Dessner’s work with Taylor Swift on her albums Folklore (2020) and Evermore (2020). In return, Swift featured on “The Alcott,” a track from The National’s First Two Pages of Frankenstein (2023), further solidifying the band’s status as influential figures in both indie and mainstream music.
Looking back, Alligator stands as the album that launched The National’s incredible journey. It was the spark that ignited a career full of critically acclaimed records and sold-out arenas. In many ways, Alligator redefined indie rock, pushing it into the mainstream while maintaining its intellectual and artistic roots.
Two decades after its release, Alligator still sounds as essential as ever. It remains a cornerstone of The National’s career, an album that changed indie rock forever and paved the way for the band’s legendary discography.
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