By Adam Plikington
There is something ironic with Conor Oberst playing in an old Presbyterian Cathedral, at times I thought lightning might come down, but the show was billed as an “intimate performance with Conor Oberst” and he and the venue did not disappoint. Stripped down to just a piano and guitar, with an occasional guitarist or violist to accompany him, Oberst gave a raw, emotional performance. Mostly playing songs from his new album, which seems to be somehow more emotionally raw than any other album he’s made, Oberst refrained from commenting on the current political climate or really commenting on anything at all, instead going from song to song, from guitar to piano and back and forth. That was what mad the show so good. I don’t mind when performers take time to speak in-between songs and enlighten us, but it can drive me and most other concert goers insane when that’s all we get, when what we really want is to hear the songs and see artists in action. To see our modern day Dylan perform his new songs in such a small moody venue was inspiring and memorable.