“I was trying to find the balance of having to fit this into the Bright Eyes catalogue,” says Conor Oberst, “where if the records are up on a shelf, this one doesn’t seem like a sore thumb, but also have it reflect where we’re at.”
Photo: Victor Llorente I have these weird bouts of insomnia,” says Conor Oberst, sitting in his living room in Omaha, his hometown. “Usually, it’ll pass.” At 40, the indie-rock elder has a youthful air, but today he looks beat. For three days in a row, he has been sleeping just two hours a night. Still, he’s in good Midwest humor. At least the weather’s nice, he says.
After spending the initial months of the pandemic in his adopted home of Los Angeles, Oberst drove back to Omaha to see his family and check on his house. Being home felt nice, he says, especially reuniting with the two dogs he shares with his ex-wife, Corina Figueroa Escamilla. The pandemic prompted the shutdown of the local bar he co-owns, Pageturners.
There is a temptation to mark the new Bright Eyes album as Oberst’s victory lap after a few wilderness years, but what’s most notable about Down in the Weeds, Where the World Once Was is that it’s not just a showcase for him — it’s a course correction to the idea that Bright Eyes is synonymous with the front man and not also his bandmates, Mogis and Nate Walcott.
Conor Oberst and Nate Walcott in the studio in Omaha, recording their new album. Photo: Ben Semisch Oberst has grown out of the desire to be alone in the spotlight, and he sounds relieved to know the world isn’t looking to him to write music that speaks to the current moment — a task that may have inspired him in his 20s but now appears to be exhausting. He’s aware that it’s a great time to write new songs, though he hasn’t picked up a guitar in a while. “I have had no motivation,” he says.
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