Do you like to hurt?

Bright Eyes with The Faint, and Special Guests Her Space Holiday
Digital Ash In A Digital Urn Tour
The Showbox - Seattle, WA
May 8, 2005
Set List

Tonight I had the pleasure of seeing Conor Oberst and his motley and ever changing backing band, play in support of "Digital Ash In A Digital Urn"; one of two full length releases which launched sometime in January. The Faint opened - several of the members including the drummer, bassist, and keyboardist played behind Oberst for the Bright Eyes set - with a pretty astonishing reception from the crowd. As usual the attendants were the only thing between myself and a good time, but I did my best to focus on the artists instead of the spastic black clones that surrounded me. It was hard, but I managed.

The Faint had everybody dancing. I'm still not sure if that was a good thing or a bad thing, I tend to lean toward the latter. I've decided that there should be rules for conducting yourself at a concert - or anywhere really. The cardinal rule, so to speak, would be abstaining from any activity which could potentially disrupt or ruin the experience of another attendant. I would call staring at the floor, throwing arms about and into the air, major disruptions to my experience. Don't get me wrong, dancing is well and good (for those who enjoy it), but when you aren't even watching the band perform what's the point of being at the concert? Couldn't you just throw the disc in and start dancing around your bedroom, would that not be the exact same thing? A concert is for watching performers, not for standing in a circle with your girlfriends singing along like it's Britney Spears or any other top 40 artist.

After an hour and a half the Faint stopped playing. They covered a Neutral Milk Hotel song, "Holland, 1945", which basically gives them instant credibility in my book. The only thing that wasn't cool about the cover is that they didn't really make it their song, it wasn't much different from the original version. While a cover doesn't necessarily require changes, I think a band like the Faint could have done an interesting interpretation in their style. Another problem was that the singer forgot the lyrics. Anyway, after an hour and a half the Faint finally concluded their set, and the wait for Conor Oberst began.

After what seemed like an eternity (somewhere in the ballpark of forty minutes) the band - keyboarist, basist, two drummers, trumpet player, two guitarists (including Nick Zinner of the Yeah Yeah Yeahs rocking a Gretsch, barely visible behind the trumpet player and some equipment)/ keyboardist / moog players, a violinist, and a celloist (Gretta Cohn of Cursive) - took the stage and started Time Code without Oberst on stage, as a projected movie counted down to his arrival. When the black, thin, pale figure finally was visible a wave of prebuscent cheers enveloped the audience. The show had begun.

Most people I talk to about "Digital Ash In A Digital Urn" don't like it, especially in comparison to "I'm Wide Awake It's Morning," and to them I say . . . well I'm not entirely certain what I say, but I think both records are wonderful. While "I'm Wide Awake" tends to be an optimistic call for change and political examination, "Digital Ash" is an existential and introspective record. I've seen Oberst three times this year; twice in Texas and now once in Seattle. Surprinsingly, the shows in Texas felt much more interactive, and lively.

Conor said very little between songs, besides brief summaries of song meanings or to utter a thank you. There was nothing else said, and while he wasn't visibly drunk as he was in Dallas, he seemed completely despondent and lifeless. While I don't personally care what he does on stage I tend to enjoy his drunken quips and occasional banter with the crowd. It felt as if he really wasn't playing for anybody but himself tonight and that's what made this concert something special to see. It was some kind of exorcism, a cathartic release, and we were all along for the ride.

Throughout his set he played two old songs: "Neely O'Hara" from the "Every Day And Every Night" EP, and "Lover I Don't Have To Love" from "Lifted Or The Story Is In The Soil Keep Your Ear To The Ground." Which were the only two songs I really expected him to play - since those are the only non B-Side (like "Burn Rubber" or "Cremation") tracks which would compliment the "Digital Ash" tracks. He changed the lyrics to both songs, and changed the structure of "Neely O'Hara" - which was very cool. The lyric changes in "Lover I Don't Have To Love" seemed to reflect Oberst's self loathing; instead of being the victim he now feels he's no different from everyone else.

Since I like "Digital Ash" I loved the show - the crowd honestly didn't seem so enthused. There were periodic requests for "Lua," despite there being no acoustic guitars in sight, and despite the fact he has already toured in support of "I'm Wide Awake." It really felt like people were there to see him, they didn't really care what he was playing - and they obviously didn't realize he was supporting "Digital Ash," and no folk songs were going to be played. That's the problem with Bright Eyes, people like him for the wrong reason. Girls want to fuck him and guys want to be him, never really taking the time to listen what he's trying to say. I concede that I would like to be like him, but I want to be like him for a completely different reason. Bright Eyes isn't about being cool or fighting in with the indie kid crowd, Oberst isn't just another sad guy with a guitar and a pen.

The message is there, but there are no ears to the ground . . .

BE ON THE LOOKOUT: Pictures forthcoming if the computer gods allow it. Thanks go to Ed and his mighty little camera for those.