I'm Wide Awake, It's Morning
songwriter from Nebraska is moving toward becoming one of the last relevant
voices in rock 'n' roll.
WHEN: Friday night
WHERE: Moore Theatre
In the five years since releasing "Fevers and Mirrors" under the name Bright
Eyes, Oberst's voice has developed from a nondescript, tuneless whine to one
that defines and expresses the confusion and angst of the first generation
to come of age in the 21st century.
Friday night's concert at the Moore Theatre marked Bright Eyes' third visit
to Seattle this year. Unlike February's Paramount show, which was devoted to
January's "I'm Wide Awake It's Morning," and May's Showbox appearance, which
concentrated on material from the simultaneously released "Digital Ash on a
Digital Urn," the set list was drawn from the entire Bright Eyes catalog.
The seven-piece band opened with "Sunrise Sunset" from "Fevers and Mirrors."
Of the four songs played from "Lifted," "You Will, You? Will You? Will You?
Will?" packed a lot of melody between two guitar chords, and "False
Advertising" offered a march played in waltz time.
A new song, "No One Would Riot for Less," evidenced how far Oberst has come
in the past year. The theme was nothing less than the depiction of hell on
Earth, performed with a command of vocal dynamics that had previously been
confined to the simple alternation of mumble and scream. His stage presence
has become more authoritative, standing front and center for most of the
night, with none of the stumbling around with a drink in his hand that made
him seem so frail and vulnerable in February.
Other highlights included the magisterial "Old Soul Song (For the New World
Order)," a sad requiem for the citizen victims of national security
The two opening acts were excellent. Scotland's Sons and Daughters sounded
like X covering Nick Cave while auditioning for "Riverdance," and Willy
Mason's deep simplicity echoed the ballads of Townes Van Zandt.
LP / CD / MP3
LP / CD / Deluxe CD / MP3