Hot on the heels of her much-acclaimed boygenius trio last year, buzzy singer-songwriter Phoebe Bridgers has teamed up with Bright Eyes’ Conor Oberst for yet another supergroup. Calling themselves Better Oblivion Community Center, the pair just kicked off a tour supporting their self-titled album. They debuted a couple killer (no pun intended) covers at their first shows, tackling the Replacement’s “Can’t Hardly Wait” and the Killers’ “Human.”
This past weekend was the Northside Festival, sort of Brooklyn’s answer to SXSW and CMJ. In addition to hundreds of baby bands, they had a few big-name headliners, including the pairing of Kacey Musgraves and Conor Oberst of Bright Eyes. They guested during each others sets: Musgraves sang her own “Back to the Map” during his, then he returned during hers for a duet cover of Hank Williams‘ classic “Hey Good Lookin’.”
The Desaparecidos are currently on tour with the remaining dates focusing on the west coast where they will eventually playing FYF Fest. If you aren’t familiar with the band, this is yet another project of Conor Oberst’s, who is most notably known for Bright Eyes. However, consider this band an antithesis of that– it’s far less confessional and more focused on creating energy reminiscent of post-hardcore sounds. The band began their tour in Minneapolis, where someone managed to tape a decent video of the band covering “Spanish Bombs” by The Clash for their first encore song.
The amazing thing about this album is that it didn’t come sooner. An indie-Americana tribute to country/folk songwriter John Prine seems so inevitable. He may never have become a household name, but anyone who ever recorded a song with steel guitar or mandolin knows Prine. With bands like My Morning Jacket and the Avett Brothers spearheading an alt-country revival, Prine’s slyly sarcastic songs about love and life are due a second showing.
The artists who appear on Broken Hearts and Dirty Windows: Songs of John Prine comprise a who’s-who of young folk/Americana bands, but these obvious admirers choose some very non-obvious tracks. The usual-suspect songs are largely missing in action. No “Paradise,” no “Sam Stone,” no “Illegal Smile.” The only no-duh selection is “Angel from Montgomery,” one of four songs from Prine’s self-titled debut. The rest span the gamut, dusting off tunes from the ‘80s and ‘90s alongside the canonical ‘70s material.