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Scott Devendorf

Scott Devendorf (born 1972) is an multi-instrumentalist best known as the bassist and a founding member of the indie rock band The National. Formed in , , in 1999, The National consists of Devendorf alongside vocalist , guitarists and , and Devendorf's brother Bryan on drums, with the band achieving critical acclaim for albums such as (2005), (2007), and (2010), continuing with acclaimed releases like (2023) and the live album (2024). The band's 2013 release debuted at number three on both the Billboard 200 and UK Albums Chart, earning a nomination for Best Alternative Music Album at the 56th Annual Grammy Awards and contributing to the band's subsequent Grammy recognition. Beyond The National, Devendorf co-founded the instrumental project LNZNDRF in 2016, releasing their self-titled debut album that year, and has contributed to projects like the tribute album (2015) and Bob Weir's Blue Mountain (2016). Based in , Devendorf also works as a DJ at Threes Brewing in .

Early life and education

Upbringing in

Scott Devendorf grew up in , , where he spent his formative years in the city's suburbs alongside his younger brother Bryan, who would later join him as the drummer in The National. Growing up in a supportive family environment, the Devendorf brothers were encouraged to pursue music from an early age, with their parents providing violins that sparked their initial interest in the art form. This familial emphasis on creativity extended to performing together at family events, gatherings, and even church functions, instilling a sense of musical collaboration that influenced their lifelong bond. In the late , Scott and Bryan enrolled in lessons at the University of Cincinnati's College-Conservatory of Music, an experience that immersed them in Cincinnati's vibrant cultural landscape and emphasized disciplined practice through repetition. Although neither brother continued with the long-term—Bryan eventually switching to in junior high—these childhood lessons proved formative, exposing them to classical techniques and the discipline required for musical proficiency. The brothers later joined a , performing at events as far away as Nashville and , which further honed their ensemble skills in a communal setting. Cincinnati's local music scene provided Scott with early exposure to diverse genres, particularly rock and indie sounds that shaped his tastes. Through family connections and neighborhood influences, including learning songs from older musicians like those in his sister's circle, he encountered bands such as fIREHOSE, , and , blending raw rock energy with introspective indie elements. The city's Midwestern ethos, combined with access to regional acts, fostered a grounded appreciation for music as both personal expression and social activity, setting the stage for Scott's instrumental development. Additionally, growing up in the same west-side community as future bandmate allowed for shared cultural experiences in the local scene, nurturing the creative foundations that would later unite them in The National.

Formal education and early influences

Devendorf attended Turpin High School in , , graduating in 1991; his younger brother Bryan graduated in 1993. Following high school, he enrolled at the University of 's College of Design, Architecture, Art, and Planning (DAAP), where he studied and graduated in 1996. During his studies, Devendorf participated in DAAP's co-op program, interning at design firms in and alongside future bandmate . After graduation, he worked professionally as a in , producing print materials such as art books and museum catalogs for institutions including the Guggenheim Museum, before transitioning to music full-time in the early . Devendorf's early artistic influences drew from Cincinnati's thriving and scenes of the late 1980s and 1990s, with local bands like , , , , and playing a formative role in shaping his musical sensibilities. Growing up in a musically inclined family, he received lessons through the University of Cincinnati's College-Conservatory of Music as a child alongside his brother. These experiences fueled his multi-instrumental experimentation, beginning with during his teenage years. He further developed his skills through non-professional collaborations in Cincinnati's community, including forming Nancy with University of Cincinnati classmates in the mid-1990s, which performed small local shows and recorded an album produced by a member of the band Tigerlillies. These early efforts, often held in informal venues like rented restaurant spaces, allowed Devendorf to explore songwriting and performance without pursuing a professional path at the time.

Career with The National

Formation and early albums

The National was formed in , , in 1999 by vocalist , twin brothers and on guitars and keyboards, drummer , and bassist Scott Devendorf, all of whom had grown up in the area and shared musical interests rooted in local indie scenes. Scott Devendorf, Bryan's brother and a graphic design graduate from the , brought his experience from earlier college band (which included Berninger) and contributed steady, understated bass lines that anchored the band's emerging sound. The core lineup solidified during informal jam sessions and home recordings, drawing on influences like and Americana to craft introspective songs led by Berninger's distinctive baritone vocals. By the early 2000s, the band relocated to , , to immerse themselves in the burgeoning community, where they balanced day jobs with late-night rehearsals in cramped apartments and shared spaces. This move facilitated connections with like-minded artists and labels, allowing The National to refine their melancholic, literate style amid the city's vibrant but competitive scene. Scott Devendorf's bass work became integral to the rhythmic foundation, often providing subtle propulsion that complemented the Dessners' intricate guitar arrangements and Bryan Devendorf's dynamic drumming. The band's self-titled debut , The National, was self-released in 2001 on the independent Brassland Records, a label co-founded by and Berninger. Recorded in low-fi home setups in with minimal equipment, the sessions emphasized raw experimentation; notably, Scott Devendorf played guitar and provided backing vocals, while Aaron Dessner handled bass duties, reflecting the group's fluid early roles and limited resources. The introduced their brooding, narrative-driven aesthetic but received modest attention, establishing a niche following through word-of-mouth in circles rather than widespread acclaim. Their second album, (2003, Brassland), marked a step forward in production, recorded across seven Brooklyn and studios including basements and a 17th-century , with producers Nick Lloyd, , and Paul Heck overseeing sessions that involved extensive live takes and revisions. Challenges included logistical hurdles from scattered locations and reviving discarded tracks, all on a shoestring budget that forced creative , such as incorporating ambient sounds like on "Sugar Wife." Scott Devendorf's bass lines added emotional depth to tracks like "Cardinal Song," helping solidify the band's signature . Critically, it earned praise as a "genuine treasure" and Uncut's , with awarding it an 8.4/10 for its evocative storytelling, though commercial success remained limited. The 2005 release (Beggars Banquet) shifted to professional production by and Paul Mahajan, recorded primarily in home studios like Aaron Dessner's attic, highlighting the band's resource constraints with DIY setups and overdubs. The process demanded tight collaboration, as the group honed their sound through iterative demos amid day-job demands, resulting in a more polished yet intimate feel. Devendorf's bass provided the album's brooding pulse, evident in songs like "Mr. November." It garnered significant critical acclaim for elevating their baritone-led , boosting their fanbase and setting the stage for broader recognition without yet achieving mainstream breakthrough. Boxer (2007, ), also produced by Katis, was recorded in a frantic two-month window at his Tarquin Studios in , where the band entered without completed songs, writing and tracking daily under pressure from a depleting —they exhausted over 70% by late summer. Challenges peaked with interpersonal tensions and exhaustive revisions, nearly "losing their minds" in the intensity, but yielded a cohesive . Scott Devendorf's contributions on and percussion enhanced the rhythmic subtlety, supporting Berninger's vulnerable delivery on tracks like "." The album received widespread praise, with lauding its emotional precision and calling it a drummer's showcase that propelled the band's rise, cementing their reputation for melancholic .

Mid-career success and later albums

Following the critical acclaim of their earlier work, The National achieved a significant breakthrough with their fifth studio album, , released in May 2010 on . The record expanded the band's introspective sound with lush arrangements and thematic depth, earning widespread recognition and a Grammy nomination for Best Album in 2011. Scott Devendorf played a key role in shaping its meditative tone, contributing bass lines that underpinned the album's emotional weight alongside guitar and piano parts, while collaborating on the structural development of tracks from initial sketches by the Dessner brothers. In interviews, Devendorf reflected on the album's homesick undertones, drawing from the band's roots despite their formation, which added a layer of personal introspection to songs like "Bloodbuzz Ohio." The band's momentum continued with in 2013, also on , which debuted at number three on both the and the , solidifying their commercial success. Devendorf's work provided a steady, brooding for the album's mix of orchestral swells and raw emotion, recorded at a remote studio to foster band camaraderie, as he noted in discussions about the process. The album received a Grammy nomination for Best Album in 2014, highlighting the group's evolving songwriting where Devendorf contributed to arrangements that balanced vulnerability and resilience. By 2017, represented a pivotal shift, with taking greater control over production—primarily handled by with co-production from and —marking their first fully in-house effort without an external producer. Devendorf's involvement extended beyond bass to multi-instrumental contributions and songwriting input, helping integrate electronic elements like synths and programmed drums into the introspective lyricism, creating a more textured, anxiety-laden sound. The album won the Grammy for Best Alternative Music Album in 2018, with Devendorf accepting the award on behalf of the group, crediting the collaborative process for its innovative edge. I Am Easy to Find (2019, 4AD) further evolved this trajectory through extensive collaborations, featuring female vocalists such as Gail Ann Dorsey and Lisa Hannigan on several tracks, which shifted the thematic focus toward relational dynamics and empathy rather than Berninger's solo baritone introspection. Devendorf contributed bass lines that anchored the album's atmospheric builds and co-wrote elements emphasizing emotional nuance, while the production leaned into electronic textures for a sense of spaciousness. This approach carried into First Two Pages of Frankenstein (2023, 4AD), where experimental flourishes—like guest appearances from Taylor Swift and Phoebe Bridgers—blended with the band's core sound, earning critical praise for its raw, therapeutic exploration of creative doubt and renewal. Devendorf's bass and production roles supported the album's introspective electronic leanings, helping the band navigate personal and artistic challenges during its creation. Overall, these releases trace The National's progression toward a more electronically infused, collaboratively introspective style, with Devendorf's steady instrumentation and input driving the sonic maturation.

Tours and live performances

The National's touring career gained significant momentum during the Boxer Tour from 2007 to 2008, which helped solidify their fanbase in the United States and through extensive performances across clubs, theaters, and festivals. The tour featured sold-out shows in major cities like and , showcasing the band's evolving sound and drawing critical acclaim for their intimate yet expansive live sets. The Tour of 2010–2011 marked a breakthrough period, with world-spanning dates that included headline slots at prestigious festivals such as in 2010 and in 2011. These appearances, often featuring extended encores and improvisational elements, elevated the band's profile globally, with the tour wrapping up after over 150 shows and culminating in a celebrated performance at New York's Beacon Theatre. Following the release of , embarked on a world tour from 2017 to 2018, performing in arenas and amphitheaters across , , and , which concluded with a final leg of intimate venues. The I Am Easy to Find promotional tour in 2019 continued this momentum with dates in Asia, , and , but was abruptly halted by the , leading to a multi-year hiatus from live shows as postponed summer 2020 engagements and focused on remote collaborations. In 2024, The National resumed touring with the Zen Diagram Tour, a 19-date co-headlining run with The War on Drugs across North American amphitheaters, including a notable show at Forest Hills Stadium in , supported by . The tour extended to international dates, such as performances in in February 2024—their first there in six years—as part of their 25th anniversary celebrations, featuring varied setlists curated via whiteboard during soundchecks to keep performances fresh. A highlight of these activities was the live Rome, recorded on June 3, 2024, at Rome's Auditorium Parco della Musica Ennio Morricone and released on December 13, 2024, capturing the band's improvisational energy across 21 tracks with no overdubs. As the band's , Scott Devendorf plays a pivotal role on , providing nimble, melodic basslines that drive the rhythmic foundation beneath the Dessner brothers' guitar textures and Matt Berninger's vocals, often emphasizing subtle dynamics to enhance the emotional depth of live renditions. His contributions extend to collaborative setlist decisions, fostering band camaraderie through mutual respect and a shared love for the music, which has deepened post-pandemic into more playful and appreciative onstage interactions.

Other musical projects

LNZNDRF

LNZNDRF is an project formed in in , , by Scott Devendorf, his brother , and Ben Lanz of , blending , ambient, and kosmische elements into hypnotic, expansive soundscapes. The trio's music draws heavily from influences, creating repetitive, motorik-driven grooves that evoke a sense of vast, otherworldly immersion, while incorporating shoegaze-like textures in its layered, atmospheric production. The band's debut self-titled album, LNZNDRF, was released on February 19, 2016, via , featuring eight tracks recorded in an old church in , , over two and a half days. These songs emphasize the group's instrumental prowess, with swirling synths, driving rhythms, and minimal vocals shared among members, resulting in a cohesive, trance-inducing listen that prioritizes mood over structure. Later that year, on August 5, 2016, issued Green Roses, a 25-minute single presented as a limited-edition 12-inch EP containing two extended pieces: the at nearly 18 minutes and "Salida" at about eight minutes, further exploring the band's penchant for prolonged, evolving compositions. In 2020, amid the , LNZNDRF released the shorter EP To a Lake independently as a digital download, comprising three tracks totaling around 35 minutes and recorded at Public Hi-Fi in . This release maintained the project's ambient leanings but felt more intimate and reflective, serving as a bridge to their follow-up. The sophomore II arrived on January 29, 2021, again via , with eight tracks that incorporated edges alongside the core kosmische vibe; standout "Brace Yourself" exemplifies this shift with its propulsive bass and urgent tempo. Several videos for II, including those for "Brace Yourself" and "You Still Rip," were directed by Ben Lanz, enhancing the 's visual narrative with abstract, nature-inspired imagery. Scott Devendorf contributes on , shares vocal duties with Lanz, and participates in production, grounding the music's ethereal elements with rhythmic foundation while allowing space for .

Collaborations and guest appearances

Scott Devendorf has engaged in select collaborations outside his primary band commitments, often reflecting his longstanding affinity for the 's improvisational style and ethos. In March 2012, he performed alongside , founding member of the , at the HeadCount-organized "Bridge Session" benefit concert held at TRI Studios in , where Devendorf contributed on bass to a set blending classics with original material, joined by his brother and other National members. This partnership extended to the studio for Weir's 2016 solo album Blue Mountain, released on , where Devendorf provided electric bass and backing vocals across multiple tracks, helping craft the record's rootsy, acoustic folk sound under producer . Devendorf's involvement underscored his appreciation for Weir's songwriting, which he has described as a key influence in bridging with Americana traditions. Devendorf further immersed himself in Grateful Dead tributes as part of the house band for the 2016 compilation Day of the Dead, a 59-track covers album curated by Aaron and Bryce Dessner and released by 4AD to benefit the Red Hot Organization's AIDS/HIV initiatives. He played bass on several recordings, including contributions from artists like Phosphorescent and the National's rhythm section, highlighting the Dead's enduring cultural impact through diverse indie interpretations. In the , Devendorf made occasional guest appearances with indie acts connected through mutual collaborators, such as sharing stages with during festival sets, facilitated by his friendship with Beirut's Ben Lanz. His interest in jam bands has occasionally led to informal jamming sessions, including during The National's 2024 tours, though no major new collaborations have emerged as of late 2025.

Other pursuits

Graphic design work

Prior to dedicating himself fully to music with The National, Scott Devendorf established a professional career in after graduating from the University of Cincinnati's College of Design, Architecture, Art, and Planning (DAAP) in the . He participated in the program's co-op rotations, which took him to design firms in and , and upon relocating permanently to in the late and early , he worked full-time at agencies including Pentagram's New York office. There, he contributed to print materials for clients such as art books and museum catalogs, including projects for the . Devendorf brought his design skills to The National, collaborating on the band's album artwork, merchandise, posters, and promotional materials from its early days. His Brooklyn-based firm, Distant Station Ltd., created the cover for the 2010 album , which features a photograph of artist Mark Fox's assemblage Untitled (Binding Force)—a cryptic, monochromatic composition evoking the album's layered themes. For later releases, he partnered with —leveraging his prior experience there—on the visual identity for (2017), which adopts a satirical corporate aesthetic with bold and packaging elements, and (2023), centered on an enigmatic snapshot of a head. These collaborations extended to video work, such as generative animations with bandmate for . As The National's success grew, Devendorf transitioned from a full-time role to a part-time pursuit, though he maintains it as an essential creative outlet alongside music. He continues to take on freelance projects for various clients, keeping his skills active without the intensity of his early career.

DJing and additional activities

In addition to his work with The National and LNZNDRF, Scott Devendorf has pursued DJing as a creative outlet under the alias DJead Night, collaborating with musician Conrad Doucette to Grateful Dead-inspired sets featuring selections from releases like Dave's Picks and Dick's Picks, as well as personal tapes and home recordings. These sessions, often lasting three to four hours, incorporate improvised playlists that shift between favorite eras of the band's catalog and accommodate audience requests, blending culture with indie and electronic influences. The DJead Night events began in February 2015 with monthly gatherings at Brewing in , , enhanced by oil projections from artist D. James Goodwin and live drawings by Michael Arthur, creating an immersive atmosphere tied to fandom. The series paused during the but transitioned to livestreams on the Relix Channel's platform in 2020, including themed nights following performances by artists like . Devendorf has continued curating these jam band-oriented playlists and events into the , with informal appearances such as an August 2024 livestream and a January 15, 2025, set at , as well as events at Brewing locations including October 16, 2025, at Gowanus and November 28, 2025, at Huntington, without establishing major residencies. Devendorf views DJing as a means of creative recharge, distinct from the structured songwriting and performance demands of his band commitments, allowing him to explore spontaneous sonic explorations that inform his broader musical aesthetic. He maintains a low-profile in , , prioritizing privacy amid his professional endeavors.

Discography

The National albums

Scott Devendorf has been the primary bassist for The National across all their studio albums, contributing to the band's signature brooding sound through his rhythmic foundation and occasional multi-instrumental work on guitar, keyboards, and backing vocals. The band's self-titled debut album, The National, released on October 30, 2001, by Brassland Records, marked Devendorf's initial involvement, where he played guitar and provided backing vocals while handled bass duties. The album received limited commercial attention and did not chart on major lists. Their second album, , issued on September 2, 2003, also by Brassland, saw Devendorf transition to bass and backing vocals, solidifying his core role in the lineup. Recorded at Excello Recording and other Brooklyn studios, it was produced by the band with assistance from engineer Nick Lloyd, though it similarly achieved modest visibility without major chart placements. Alligator, released April 12, 2005, on Beggars Banquet, featured Devendorf on bass guitar alongside guitar contributions, with the album co-produced by the band and Peter Katis at studios including Headgear in Brooklyn. It marked the band's breakthrough, peaking at number 87 on the US Billboard 200 and number 67 on the UK Albums Chart. The follow-up, Boxer, came out on May 22, 2007, via Beggars Banquet, with Devendorf credited on bass and additional guitar; the album was self-produced by the band in collaboration with Peter Katis and recorded primarily at Tarquin Studios in Bridgeport, Connecticut. It performed strongly, reaching number 86 on the Billboard 200 and number 40 on the UK chart, later earning gold certification in the UK for sales exceeding 100,000 units. High Violet, released May 10, 2010, on , highlighted Devendorf's bass work with occasional piano and guitar, produced by the band with at studios in and . The album achieved significant success, debuting at number 3 on the and number 5 on the , and was certified gold in the UK, , , and . On Trouble Will Find Me, issued May 14, 2013, by , Devendorf played bass, keyboards, and guitar, with production handled by the band alongside Adian Mears and at locations including Red Bloom Studio in . It peaked at number 3 on the and number 2 in the UK, receiving gold certification in the UK and platinum in the Netherlands. Sleep Well Beast, released September 8, 2017, on , featured Devendorf on bass, piano, and synthesizer, self-produced by the band at Long Pond studio in with mixing by . The album topped the — the band's first US number-one— and reached number 3 in the UK, earning Grammy nominations for Best Alternative Music Album. For I Am Easy to Find, out May 17, 2019, via , Devendorf contributed bass, guitar, and keyboards, with production led by the band and including collaborations with producers like and guest vocalists; it was recorded across multiple studios including Long Pond. It debuted at number 5 on the and number 5 in the UK. The National's ninth studio album, , released April 28, 2023, on , saw Devendorf on bass with additional piano and guitar, self-produced by the band at Long Pond and featuring guests like and . It entered the at number 2 and topped the . The National's tenth studio album, , released September 18, 2023, on , featured Devendorf on bass and additional instruments, self-produced by the band primarily at Long Pond with additional recording at other studios, and including guest appearances by artists such as and . It did not enter the but peaked at number 56 on the Top Album Sales chart and number 24 on the . In addition to studio releases, The National issued their first full live album, , on December 13, 2024, via , a double-disc set recorded during a June 2024 performance at the Auditorium Parco della Musica in , , with Devendorf on bass. The release, which peaked at number 71 on the , captures the band's expansive live energy.

LNZNDRF releases

LNZNDRF's debut self-titled album, released on February 19, 2016, by , features eight instrumental tracks blending and influences, with Scott Devendorf contributing bass and production alongside his brother Bryan on drums and Ben Lanz on guitar and keyboards. Key tracks include "Beneath the ," a driving six-minute piece with pulsating rhythms, and "Future You," the opening track noted for its expansive, groove. The album was recorded in and mixed by Devendorf, emphasizing the trio's improvisational approach. Later that year, on , 2016, LNZNDRF issued "Green Roses" as a limited-edition 12-inch single on , functioning as an extended EP with two long-form tracks totaling over 25 minutes. The title track "Green Roses" spans nearly 18 minutes, evolving from ambient swells to rhythmic intensity, while the B-side "Salida" offers a more restrained, dub-influenced close; Devendorf's bass lines provide the foundational pulse throughout. The project shifted toward ambient and experimental territory with the EP To a Lake, self-released digitally on , 2020, comprising three extended instrumental pieces recorded at Public Hi-Fi in . Tracks such as the 22-minute "Barton Springs At Dusk" highlight Devendorf's production in creating immersive, drone-like soundscapes with subtle bass undertones, evoking natural environments. LNZNDRF's second full-length album, , arrived on January 29, 2021, via the band's own LNZNDRF imprint as a limited-edition translucent , featuring eight tracks that expand on and psychedelic elements. Notable cuts include "Brace Yourself," a four-minute with urgent, propulsive from Devendorf and shared vocal contributions from the trio, and "You Still Rip," which incorporates repetition. The album, also recorded in Austin, underscores Devendorf's dual role in performance and production. No additional LNZNDRF releases have followed as of 2025.

Other contributions

In addition to his primary work with The National and LNZNDRF, Scott Devendorf has made several guest appearances on other artists' recordings, primarily contributing bass guitar on select tracks. These include indie and tribute projects, with no major solo albums or additional band releases credited to him as of 2025. On Bob Weir's solo album Blue Mountain (2016, Columbia/Legacy), Devendorf provided electric bass and backing vocals across multiple tracks, collaborating with producers Josh Kaufman and songwriters like Josh Ritter. Devendorf contributed to the Grateful Dead tribute compilation Day of the Dead (2016, 4AD), a Red Hot Organization benefit album curated by his bandmates Aaron and Bryce Dessner; he played bass on The National's cover of "Terrapin Station (Suite)," alongside brothers Matt Berninger and Bryan Devendorf. Notable guest spots include bass on "An Otherwise Disappointing Life" from Frightened Rabbit's Painting of a Panic Attack (2016, Atlantic), produced by Aaron Dessner, and bass guitar plus pocket piano on "Coney Island" (featuring The National) from Taylor Swift's Evermore (2020, Republic Records). Other minor credits appear on compilations and benefits, such as co-curation involvement in Day of the Dead and unrecorded live sessions for HeadCount voter registration events, like the 2012 Bridge Session with Bob Weir.

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