NATURAL MYSTIC

BRIGHT EYES' CONOR OBERST ON HIS FIRST SOLO ALBUM

A favorite among music critics and Americana devotees for over a decade now, 28-year-old Bright Eyes frontman Conor Oberst has almost singlehandedly put the Omaha music scene on the map. Hailed as a stellar singer-songwriter on par with a young Bob Dylan, Oberst emerged at the age of 14 with his first band, Commander Venus; the Saddle Creek label he started with his former bandmates has since put out successful records for Omaha bands such as Cursive and Lullaby For The Working Class. As he prepared to embark on a world tour to promote his new solo album, Oberst took time out to speak with us about his Midwestern upbringing, the success of Bright Eyes and his new album with the Mystic Valley Band.

What was your childhood like, growing up in Omaha?

Omaha is boring in a lot of ways, but for me and my group of friends, I think that worked to our advantage because it forced us to be creative at an early age and find ways to entertain ourselves. That led to us starting bands and record labels, and doing things we might not have done if we’d had more distractions, outlets or opportunities.

How do you think Midwestern life left its imprint on you as a songwriter?

Well, I suppose every experience I have informs my songs in some way. All my memories have obviously impacted my songwriting, but the process itself is still a little mysterious to me. I don’t exactly know what leads to what. But I can say that the way we did things with starting our label and touring with the band came from a Midwestern work ethic that was embedded in all of us. It was really easy for us to work hard, and because our idea of success was manageable we always felt like we were achieving success, even when it was just these little victories. I think that’s a very Midwestern concept.

What were your definitions of success in the beginning?

Well, like the first time we saved up enough money to print our music on CD as opposed to cassette, there was a celebration. The first time we got a van and toured the United States, the first time we toured Europe and Japan, the time when I was able to finally stop working a job and still pay my rent… there were all these milestones along the way, so it’s been a very gradual thing. It’s all generalizations, but I think in other places around the world there’s a certain mindset that says you have to get that big lottery prize right away in order to keep your interest.

You became pretty well known on the indie scene when you were just 14: What were the positives and negatives about getting so much attention at such an early age?

Well, obviously with attention comes opportunities, and I’ve been really blessed to be able to play music for a living and do all these things that a lot of my friends who are very talented musicians didn’t get a chance to do. Of course, having all of the music that I’ve ever made available for public consumption is a little bit uncomfortable at times. I’ve been making music without having any idea what I was doing for like 15 years, so there’s all kinds of things out there that I’m not super proud of. But at the same time, I have nothing to hide.

Do you think having some of those “mistakes” out there gives you a more intimate connection with your audience?

Yeah, you know, that could be true. There are some people who’ve gotten themselves in the unenviable position of having to recreate themselves to hide some [musical] past they’re ashamed of. That would be impossible for me, so there’s a bit of freedom in the what-you-see-is-what-you-get approach.

You didn't hear much in the press about the Nebraska music scene before you formed Saddle Creek. What was it like to be a musician in Omaha 10 years ago?

It was a lot different. Looking at the town now versus when we were starting out in the early and mid ‘90s… there were only a couple of music venues, including a small punk venue and some DIY venues. But for the most part we were playing at people’s houses. The city was a very conservative place, so we always felt at odds with the mainstream society of Omaha, and maybe that juxtaposition fuelled us by giving us something to rebel against. Now, while it’s still a red state, there’s been a lot more attention and respect paid towards the arts, and there’s a lot more venues to support it. It’s a great thing.

I'm Wide Awake, It's Morning seemed like a breakthrough record for you. Did it feel like a special time in your career, or was it just another gradual step forward as an artist?

Well, when I was making it, it just felt like another record. But when it came out and we went on the tours that came after its release, it definitely felt like things had changed. It was simultaneously very exciting and overwhelming; one of the bigger milestones of my career.

What was behind the decision to release the new album under your own name on Merge, rather than Bright Eyes on Saddle Creek?

We’ve done a bad job of expressing ourselves to the press sometimes, but Bright Eyes is actually a band with myself, Mike Mogis and Nate Walcott. Nate played on the record a little bit, but Mike didn’t play on it at all, so I didn’t feel like I could call it Bright Eyes. As far as Merge goes, everything at Saddle Creek is going well, but after releasing records with Saddle Creek my whole career, having fresh people working my music was exciting. It was mainly about a curiosity to see what it would be like, but since I’m a big fan of Merge and have friends who’ve been on the label over the years, it felt very comfortable.

How did you connect with Nik Freitas and Taylor Hollingsworth, and how do you think working with them affected your sound?

I met Nik through my friend Jim Fairchild, who played guitar in Grandaddy. I heard a record Nik made and thought it was great, so I approached him about letting me release on my label, Team Love. He’s a great guitarist and harmony singer, and when I wrote this batch of songs I’d written and was trying to think of which friends would complement them the best, he came to mind. Taylor is from Birmingham, Alabama, and so is Macy Taylor, who plays bass on the record and is the brother of my old friend and associate Maria Taylor. So I know Taylor through my friends in Birmingham, and he’s just a sick rock ‘n’ roll guitarist. As Taylor describes it, I think they brought the boogie-woogie to the record.

What was the experience like recording the album down in Mexico?

Going into the record, I knew I didn’t want to make it in a traditional studio, so I started looking for houses we could live and work in. I had a friend down in Mexico who found this place in Tepoztlán and sent pictures of it, and it was perfect. There was a bit of logistical difficulties with shipping all the equipment down there, but once we set up, it was perfect. It was a really casual experience: My whole idea was, if at any point we felt restless or like things weren’t going the way we wanted, we just stopped and hung out, or drove two hours into Mexico City to party. We were there for six weeks, but we could’ve made the record in two.

Now that you're a world-traveling rock star, what do you miss most about life back home in Omaha?

Just the people, more than anything, because my family and my friends are here. I’ve learned that it’s not where you are, but who you’re with, and at this point most of the people I play with and the crew on my shows are all friends of mine. But you can’t ever erase the memories of your hometown.

Where would you recommend first-time visitors go to get a true taste of the city?

Well, we have a world-class zoo (Henry Doorly Zoo) that’s been ranked like second in the country. Downtown is where a lot of the music venues are, including a really cool one called The Waiting Room and another one called Slowdown that the guys who run Saddle Creek opened. There’s a neighborhood called Benson that’s got a little bit of a bohemian revival going on. We have a minor league baseball team called the Omaha Royals, and it’s always fun to catch a game. And there’s a great art house movie theater called Film Streams that does short runs of foreign films and cool indie flicks. So there are a lot of things going on here now.

Will there be another Mystic Valley Band record, or is this a one-time deal?

I don’t know. We’re just kinda taking it as it comes, you know? It’d be great, but we don’t have any immediate plans.