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Bright Eyes

PHOTO: SHAWN BRACKBILL

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Bright Eyes Shuffles the Deck for Upcoming Cincinnati Show

Composer and pianist Nate Wolcott says the band has approached its album reissues with new perspectives.

Bright Eyes composer/arranger/ multi-instrumentalist Nathaniel Wolcott admits the last two years have been “pretty wild.”

An extremely proli c musician, Wolcott did not sit by idly after touring came to a halt as a result of the COVID-19 pandemic. Rather, he turned his focus to e Stand soundtrack he recorded with fellow Bright Eyes member Mike Mogis. He also worked on an ambitious Bright Eyes album reissue campaign that involves the production of nine companion EPs for which the group recruited guests Waxahatchee, Phoebe Bridgers, M. Ward and Becky Stark (of Lavender Diamond).

“Mike [Mogis] and I have been really busy,” Wolcott says via phone from Omaha, where Bright Eyes is rehearsing for a tour that will bring the band to the Andrew J Brady Music Center on June 1. “ at was nine hours of music. at certainly kept us busy that year. Luckily, I’ve been able to work on a lot of music remotely. Last year, we were lucky enough to do a short run on the East Coast. at was really fun. It was a way to dip our toes back into the world of touring and now we’re hitting the

ground running for sure.”

“I’ve just continued to make music and record music, and we eased into the Bright Eyes EP project and are recording a lot of the material,” Wolcott continues. “We started it about a year ago. It’s been really fun and really cool. e rst couple of EPs date back to when [singer] Conor [Oberst] was just a teenager, recording on a four-track in his basement.”

Wolcott says the group has taken a “very modern perspective” to recording older Bright Eyes tunes that date back to the late ’90s.

“We think of it as turning the whole thing upside down,” says Wolcott. “It’s like if the material were written now, how would we approach the arrangement and recording. It’s an interesting process. As we get into the later material, it’s de nitely fun to again turn it upside-down and approach in a completely new and di erent way.”

Wolcott says Bright Eyes has announced the release of the rst three EPs and plans to release nine.

“We have taken totally di erent approaches with each one.”

A talented multi-instrumentalist, Wolcott rst learned violin when he was 5, followed by piano, Suzuki piano and trumpet.

“I got really into jazz when I was a kid. I got pretty deep into that stu . By the time I was in high school, I also just really liked the idea of playing rock music too,” Wolcott remembers. “I was lucky enough to meet some people including Mike [Mogis] when I was in high school and start recording and being in bands around that time.”

Wolcott says Lincoln is a small college town with a lot of opportunities to perform and record.

“I think I was in tenth grade when I rst started going to Mike’s studio and started working on the early [indie band] Lullaby for the Working Class records. ose experiences were amazing,” Wolcott says. “It was about the time I met Conor. I remember him opening for a Lullaby show around that time. It was a cool and fertile scene and had a lot of crossover with the Omaha bands.”

Back in 2006, Bright Eyes evolved from being a Oberst project to being a band with Mogis and Wolcott as members. e shift “didn’t a ect how we approached anything because we had consistently been a part of the live show

and making the records and all that stu ,” Wolcott says. To build anticipation for the upcoming reissues, the band has released the tune “Falling Out of Love at is Volume,” a beautiful ballad that makes good use of retro-sounding synths. “ at was one of the few that had been a staple in the live show for a while,” Wolcott says. “It was almost a pretty straightforward documenting of how we had been Wolcott says the playing it live.” A new version group has taken a “very modern of “Contrast and Compare” features vocals courtesy of perspective” to Waxahatchee. It also includes some recording older subtle pedal steel courtesy of Mogis.

Bright Eyes “We were lucky to have Katie tunes that date [Crutch eld] from Waxahatchee sing back to the late ’90s. on that,” Wolcott says. “We wanted to make it di erent and interesting. Rather than be guitar-based, we recorded the piano rst. We wanted to involve people from the current scene and people we like and admire. Mike has got a great touch on the pedal steel for that tune.” Wolcott describes “Haligh, Haligh, A Lie, Haligh,” a track that features Phoebe Bridgers, as a “deliberate attempt to do the song di erently.” “One of the ways we did that or achieved that goal was we had our friend Clark Baechle [founder of e Faint] program the drum beat for it,” he says. “It has a more electronic element, and that was fun.” Wolcott says the band continues to tweak the setlist for the tour. “We’re still guring out how much of the EP stu we will incorporate into the set. We are also duly focused on playing the material from the last album and adding songs from that record that we didn’t play last summer,” Wolcott says. “ e new record is tricky. ere is a lot to sort out, and we have our hands full.” Bright Eyes plays the Andrew J. Brady Music Center (25 Race St., downtown) at 8 p.m. June 1. Proof of full vaccination or a negative COVID test is required for entry. Info: bradymusiccenter.com. A version of this interview originally was published by CityBeat sister newspaper Cleveland Scene.

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Tears for Fears

PHOTO: PROVIDED BY BB GUN PRESS

Tears for Fears with Garbage

May 20 • Riverbend Music Center

Tears for Fears — aka singer/songwriters Roland Orzabal and Curt Smith — have written some of the best pop songs of the last four decades; sleek, immaculately produced tunes that dominated 1980s radio and remain staples to this day. Check out “Mad World,” “Shout,” “Everybody Wants to Rule the World” and “Sowing the Seeds of Love” for proof. e duo met as teenagers in Bath, England, in the late 1970s and began making music full of Beatles-esque harmonies, angsty lyrics and moody, era-de ning synthesizers. ey formed Tears for Fears in 1981 and released a trio of albums (1983’s e Hurting, 1985’s Songs from the Big Chair and 1989’s e Seeds of Love) that topped the charts and helped make MTV a cultural juggernaut. e rapid success — the guys were all of 24 years old when Songs from the Big Chair hit No. 1 across the world — took its toll. Dissatis ed with his role as “the guy in Tears for Fears,” Smith left the band in 1991. Orzabal and Smith didn’t speak again until 2000, eventually reuniting to release Everybody Loves a Happy Ending in 2004. And now, 18 years later, Tears for Fears is back with e Tipping Point, an intriguing, quasiconcept album about growing old and seeing things from a markedly di erent angle four decades removed from the duo’s best-known work.

“If you’re going to be doing this when you’re 60, it seems criminal to do the same thing that you used to do when you were 19,” Orzabal said in an interview with Variety earlier this year. “Have you not learned anything? And I think this is, for me, the beauty of this album. You’ve got people coming to terms with themselves, coming to terms with each other through a relatively — relatively — at times turbulent relationship. And also people who, as artists, are keen to share our perspective on the world: how we see it, not coming from a position on the left or a position on the right, but trying to spread education, information and awareness to try and make the world, dare I say, a better place.” e show begins at 7:30 p.m. More info: tearsforfears.com. (Jason Gargano)

Miranda Lambert with Little Big Town and The Cadillac Three

May 22 • Riverbend Music Center

Miranda Lambert has been there for me since, well, practically the very beginning. It’s always felt like each of her albums has landed right when it was needed, as if this musical twin ame was going through all the same crap I went through. From striking out on our own (“Mama, I’m Alright”) and then missing home (“ e House at Built Me”) to second chances (“Pushin’ Time”) and trying to decide what to do with yourself (“Settling Down”), Lambert has single-handedly soundtracked the last two decades of my life and has even become part of my little girl’s life soundtrack (her favorite part of “Tequila Does” is singing, “ ey’re all hat, no cattle”).

Lambert’s latest album, Palomino, still ts that relatable, heart-stirring bill while reaching something Lambert has seemed to grab at throughout her career. Palomino nds Lambert at her peak in the Outlaw Country genre. e rst single, “If I Was A Cowboy,” is only just a tease of what the new release o ers. “Carousel” o ers something akin to “Pancho And Lefty” (Willie Nelson and Merle Haggard), while “Actin’ Up” And “Wandering Spirit” remind listeners once more of Lambert’s own wild, outlaw heart.

Are either one of us riding a painted Palomino o into the sunset anytime soon? Nah. But, maybe a tour bus and a hatchback are close enough. e show begins at 7 p.m. More info: mirandalambert.com. (Deirdre Kaye)

Miranda Lambert

PHOTO: BROADBANDITO, FLICKR

The Smashing Pumpkins with BONES UK

May 27 • Promowest Pavilion at OVATION

While it may not be the “cool” answer these days, e Smashing Pumpkins remains the only answer for many Xennials. Need to channel your inner teenager? Smashing Pumpkins. Need to ride around I-275 and dwell on your misfortunes? Smashing Pumpkins. Need to just escape into some tunes and forget about literally anything else existing? Pumpkins. ey boast eleven studio albums covering a range of topics, mostly related to frontman Billy Corgan’s love and trauma, so there are songs for any vibe you’re feeling… even if you’re just looking to get a little nostalgic. at collection of tunes is about to grow yet, again. It was recently announced that a new album wasn’t just in the works, but in the can and ready for release. e Pumpkins’ last album, Cyr, was well-received by fans, and many are hoping for a part two. at will surely be exactly what they’ll get, too.

Don’t let Corgan’s hard work recording, touring, and managing a tea shop fool you, though — he still has time to pick a battle or two, most recently addressing rumors that his voice was failing. During a Memphis show, Corgan gave both a literal and gurative middle nger to the very idea, letting out a primal growl during a live version of “X.Y.U.” Oh, Billy, your ru ed feathers are part of your charm.

Check in on your favorite rock star’s “failing voice” or just swoon over drummer Jimmy Chamberlin’s forearms when the Pumpkins play their rst show at OVATION this month.

Doors open at 6 p.m. More info: smashingpumpkins.com. (DK)

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