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Bright Eyes

April 09

Doors: 6:30PM / Show: 8:00PM
$46.00 - $76.00
Buy Tickets

PLEASE NOTE – PER ARTIST REQUEST, ALL PATRONS MUST PROVIDE PROOF OF VACCINATION AND WEAR A MASK FOR THIS SHOW (WHEN NOT ACTIVELY EATING OR DRINKING)

PLEASE NOTE – PER ARTIST REQUEST, ALL PATRONS MUST PROVIDE PROOF OF VACCINATION AND WEAR A MASK FOR THIS SHOW (WHEN NOT ACTIVELY EATING OR DRINKING) Super Excellent Seats are non-transferable. The ID of the original purchaser must be presented to pick up the tickets. Super Excellent Seats will be made available for will call pick up no earlier than 30 minutes prior to doors. Bright Eyes is partnering with PLUS1 so that $1 from every ticket sold will go to The Downtown Women’s Center in Los Angeles exclusively serving and empowering women experiencing homelessness and formerly homeless women.

Bright Eyes

Bright Eyes
Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor
Oberst’s early recordings in an Omaha basement in 1995 all the way up to 2020, Bright
Eyes’ music tries to unravel the impossible tangles of dissent: personal and political,
external and internal. It’s a study of the beauty in unsteadiness in all its forms – in a
voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many
ways, it’s just about searching for a way through.
The year 2020 is full of significant anniversaries for Bright Eyes. Fevers and Mirrors was
released 20 years ago this May, while Digital Ash in a Digital Urn and I’m Wide Awake
It’s Morning both turned 15 in January. The latter, a singer-songwriter tour-de-force
released amidst the Bush presidency and Iraq war, wades through incisive anti-war
rhetoric and micro, intimate calamities. On the title track and throughout the record,
Oberst sings about body counts in the newspaper, televised wars, the bottomless pit of
American greed, struggling to understand the world alongside one’s own turmoil. In its
own way, I’m Wide Awake It’s Morning carved out its place in the canon of great antiwar albums by being both present and prophetic, its urgency enduring 15 years later.
In 2011 the release of The People’s Key, Bright Eyes’ ninth and most recent album,
ushered in an unofficial hiatus for the beloved project. In the time since, the work of the
band’s core members – Oberst, multi-instrumentalist Mike Mogis, and multiinstrumentalist Nathaniel Walcott – has remained omnipresent, through both the
members’ original work and collaboration.
In recent years, Mogis produced records for beloved folk acts First Aid Kit and Joseph,
among others, as well as mixed the fine-spun ennui of Phoebe Bridgers’ breakthrough
2017 debut, Stranger in the Alps. Mogis and bandmate Walcott also teamed up to write
the original scores for The Fault in Our Stars, Stuck in Love, and Lovely Still, and
Walcott worked as a solo composer scoring number of independent feature-length films.
Walcott spent extensive time on collaboration; in addition to his arrangement work for
Mavis Staples, First Aid Kit, and M. Ward, he contributed studio work to artists ranging
from U2 to jazz guitarist Jeff Parker, and also traveled the world as a touring member of
the Red Hot Chili Peppers.
Oberst, who’s nearly 30 years into a prolific musical career, spent the last decade in
similarly productive fashion. Across three years he released a string of solo albums:
Salutations (2017), Ruminations (2016), and Upside Down Mountain (2014), as well as
guested on records by First Aid Kit, Phoebe Bridgers, and Alt-J. His punk band,
Desaparecidos, emerged from a 13-year hiatus in 2015 with the thunderous sophomore
LP, Payola, a white-knuckled disarray of hollered political fury. And at the top of 2019,
Oberst and Bridgers debuted their new band, Better Oblivion Community Center,
digitally dropping the critically-lauded eponymous debut LP alongside a surprise
performance on The Late Show with Stephen Colbert.
The heart at Bright Eyes’ songwriting still looms culturally, in films and TV shows and
through re-imaginings by other artists. Mac Miller covered both “Lua” and “First Day of
My Life”; Lorde’s version of the penultimate The People’s Key track, the funereal-waltz
“Ladder Song,” was a focal point of The Hunger Games’ soundtrack; The Killers
covered “Four Winds” for their Spaceman EP; and Lil Peep’s “Worlds Away” samples
“Something Vague” while Young Thug’s “Me Or Us” samples “First Day of My Life.”
Bright Eyes’ expansive catalog has traversed genre, sound, and countless players;
unpolished demos or fuzzy folk, electrified rock or country twang. The sharp songwriting
and musicianship is all anchored in Bright Eyes’ singular ability to flip deep intimacy into
something universal. For so many, for so long, listening to Bright Eyes has been like
hearing yourself in someone else’s song – a moment of understanding or illumination,
knowing you’re on the same team looking for a way to move through of all this shit.
And while 2020 is a year of milestones for the band, it’s also the year Bright Eyes
returns, newly signed to indie label Dead Oceans. Amidst the current overwhelming
uncertainty and upheaval of global and personal worlds, Oberst, Mogis, and Walcott
reunited under the moniker as both an escape from, and a confrontation of, trying times.
Getting the band back together felt right, and necessary, and the friendship at the core
of the band has been a longtime pillar of Bright Eyes’ output. For Bright Eyes, this longawaited re-emergence feels like coming home.

Venue Information:
The Anthem
901 Wharf St SW
Washington, DC, 20024
WWW.THEANTHEMDC.COM

901 Wharf St Sw, Washington, Dc 20024 – Privacy Policy – Email info@theanthemdc.com – Phone: 202-888-0020