I'm Wide Awake

Much of the press surrounding Bright Eyes’ two new albums takes aim at the character of bandleader Conor Oberst and his ever-growing fame. Until the release of 2002’s Lifted album, Oberst was little more than a rumor - the story of a young boy capable of channeling the spirit of a 60s Bob Dylan made its way around independent music circles. However, very few people were buying the albums or going to shows outside of Oberst’s hometown of Omaha. Rumors, all rumors. 

Lifted‘s Superboy-rambling nature blew Oberst up into a Winona-dating, Letterman-playing, Springsteen-hanging celebrity, and inevitably placed weighty expectations on future Bright Eyes releases. Obsert’s fourth (or fifth, depending) official album under the Bright Eyes moniker, I’m Wide Awake, It’s Morning, is finally here. Now, onward to the music.

Doing his best Woody Allen tongue-in-cheek impersonation, Oberst fumbles out Awake‘s intro with a somewhat morose story about a crashing plane before strumming his way into the albums opening track, “At the Bottom of Everything.” Joined by My Morning Jacket’s Jim James on vocals and producer Mike Mogis on mandolin, Oberst bounces through a dark country tale of finding your way to the bottom. “Old Soul Song (For the New World Order)” plays out as a heart-broken, post-9/11 exhibition complete with 10-player band and worked-up emo vocals as Oberst repeats “and they go wild,” with ever ounce of angst he can summon.

The all-acoustic first single, “Lua” is a verbose, unhurried illustration of Oberst’s recent flirtations with life in New York City. As Oberst converses with his new, lonely environment (“what is simple in the moonlight by the morning never is’), he quaintly reassures his listeners that he is very conscious of his shortcomings and insecurities.

“First Day of My Life” is a sweet country love song destined for many-a-hipster wedding reception. “Another Travelin’ Song” is a surefire college radio hit about running from the present and longing for simpler times (“I’m screaming at my brother on a cell phone, he is far away. I’m saying, nothing in the past or future ever will feel like today”).

While much of Awake does rely on the slow-build-explosion model often used on past Bright Eyes albums, the bulk of the album’s success is indebted to it’s superlative lyrics and sound compositions. Joined by Emmylou Harris, the visual-stuffed “Landlocked Blues” sees Oberst taking his most combative stance on post-9/11, singing “greed is a bottomless pit, and our freedom’s a joke / we’re just taking a piss / And the whole world must watch the sad comic display, / if you’re still free start running away / Because we’re coming for you.” While Oberst seems content to be moving slow and looking close throughout Awake, his real strength is his ability to incorporate his personal life with his “social science” commentary. Through his political convictions and subtle, country compositions, Oberst has done the ineffable by taking his inductive steps into manhood.

Oberst’s inspiration and motivation don’t seem as humble and individual as they have been in the past. He does, however, seem ready for stardom, and so far, he’s perfect for it.

Oberst is not Bob Dylan, but he’s also not the forgettable emo kid he often begs to be. If Bright Eyes can keep making strong albums full of relevant vision and timeless writing, the kid could end up being the first Conor Oberst. The momentum built on Lifted is not wasted with predictability on Bright Eyes’ excellent Americana follow-up, I’m Wide Awake, It’s Morning. Not a poppy emo album, but rather a country-tinged songwriter menu, Oberst and Co. have moved on to more refined territory. Likely one of the best albums you’ll hear in 2005. 8.5/10

Written by G. William Locke