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Bright Eyes :: 02.14.05 :: Orpheum Theatre :: Los Angeles, CA
Conor Oberst |
On a Monday night in Los Angeles, Bright Eyes brought their gut-wrenching delivery over the top as they finished their three night engagement at the Orpheum Theatre. Just minutes before, Conor Oberst, the mastermind of all things Bright Eyes, had been alone on stage with his acoustic guitar. But just a few minutes later, trumpet pieces were flying, guitars were being smashed, and a drummer was crawling under his kit while sonic vibrations stunned the audience into submission. Maybe the chaos was because it was Valentine's Day. Maybe it was because in a handful of minutes the wonder boy was hitting the quarter century mark. Maybe it was the two drinks he polished off before things went crazy. One thing that is certain is that it was a great way to end a show.
Conor Oberst by Aimee Palmer |
The evening began with Neva Dinova, a band from Bright Eyes's hometown of Omaha, Nebraska. Their Midwestern, country-tinged indie rock fell right in line with the headliners. Relying heavily on the strengths of Jake Bellows, their slanky guitarist/vocalist, they cruised through their set like every opening band should: tight, rockin', and fun. Next up, Jesse Sykes and the Sweet Hereafter slowed things down with their own brand of country rock from the Pacific Northwest. Unfortunately, the sleepy musical numbers were a little too mellow to hold the interest of the captive audience. This actually turned out to be a good thing because it allowed time for a tour of the historic Orpheum. Built in the 1920's on Broadway in Downtown L.A., the Orpheum has a certain beauty that only history and a $3 million dollar renovation can provide. Normally, when the ticket price includes an obscene "Building Facility Charge," you feel like you're getting ripped off. This time, you were more than happy to pay for the opportunity to stare at the ornate ceiling or to tour the marble lobby. After wandering through the basement looking for a shorter drink line, it was time to get comfortable in the balcony.
Bright Eyes by Aimee Palmer |
After the band took the stage, Bright Eyes jumped right into "At the Bottom of Everything," the first song on the new album, I'm Wide Awake, It's Morning. The scratchy sound from Conor's acoustic guitar meshed perfectly with the drummer's marching rhythm that got the train rollin'. One after another, all the songs from the new album were unfolding on stage. When pedal steel and trumpet were needed, as in "Old Soul Song," the full band was there for backup. When it came time for the solo acoustic numbers like "Lua," the band would disappear and Conor would inhabit the stage with his guitar and a strange confidence for which most 24 year-olds are still searching. If his voice broke, it sounded like it was meant to do so. If there was a pause while he was finding the right chord, it never seemed out of place. Whatever he was singing, people were listening - not just enjoying, but truly listening to every word that came off his sometimes bitter tongue. "When the President Talks to God," a b-side off the new album, is an anthem boiling over with righteous indignation against the current state of American politics. While it was being played, people were leaning forward as if they couldn't wait for the next biting lyric that would put into melody the angst they all felt.
Conor Oberst by Aimee Palmer |
Most of Bright Eyes's songs are rooted in the contemporary American lifestyle. A new song, "I Must Belong Somewhere," analyzed how everything, like it or not, has its place. "First Day of My Life" chronicled a young man's realization that love doesn't always arrive at first sight and that it often takes time to build a relationship, which was perfectly illustrated with the lyric "I'd rather be working for a paycheck then waiting to win the lottery."
Next it was time for the encore, and the crowd erupted as a small, somewhat sullen character returned to the stage for a few more soul-exposing, self-loathing, ballads about innocence lost. By the time the rest of the band returned and the trumpet kicked in with the beginning of Beethoven's "Ode to Joy," you could tell this wasn't going to be a classical piece. This was clearly going to be rock and roll for all it was worth - screaming, singing, and beautiful banging eventually led to the lyrics "Let's fuck it up boys. MAKE SOME NOISE," which was exactly what they did.
Matt Allen
JamBase | Los Angeles
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