Bright Eyes

Cast across the sky like the tattoos across an emo kid's back are the most beautiful sunset clouds you've seen atop London for a long time, all around us are the people who have essentially come to their church - the clouds are the Sistine Chapel-esque ceiling to their place of worship. In front of the altar of Conor Oberst.

Tonight sees our man and his select motley crew (featuring amongst others, members of The Faint, producer Mike Mogis and Gretta Cohn, cellist with Cursive) come to play songs from 'Digital Ash in a Digital Urn'; a befitting title for a record that comes off like the soundtrack to a funeral of the future. Conor is hooded and fringed and his band are absolutely spot-on.

Opening number 'Time Code' is brought to life with a vibrant urgency, whereas on record its dour tones are much better suited to the home environment. As the band tear through an almost exclusively 'Digital Ash...' you find yourself convinced that this was the album meant for a live show. While it seems ridiculous to talk down what Oberst did for 'I'm Wide Awake It's Morning' in the live environment - an enthralling, emotive tour as it was - the sheer scope and energy of these songs brings a live experience not unlike watching The Arcade Fire. At one point, ten instrumentalists back Conor's majestic encore performance of 'Lover I Don't Have to Love' and the song takes ahold of every part of the audience through layer upon layer of perfect musicianship and two incredibly rhythmic drummers.

The incredible thing about Bright Eyes' live performances manifests itself through being consistently different and for all intents and purposes, never disappointing.

Photo by Alice Gribbin