Bright Eyes
Tuesday, April 1, 2025 @ 7:30 pm
$49.70
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132 Laporte Ave
Fort Collins, CO 80524
Bright Eyes with Opening Act TBA
Five Dice, All Threes is a record of uncommon intensity and tenderness, communal exorcism and personal excavation. These are, of course, qualities that fans have come to expect from Bright Eyes, nearly three decades into their career. The tight-knit band of Conor Oberst, Mike Mogis, and Nate Walcott tends to operate in distinct sweeping movements: each unique in its sound and story but unified by a sense of ambition and ever-growing emotional stakes. Even with this rich history behind them, these new songs exude a visceral thrill like nothing they have attempted before. Oberst has always sung in a voice that conveys a sense of life-or-death gravity. At times throughout Five Dice, All Threes, you may feel worried for him; other times, he may seem like the only one with the clarity to get us out of this mess.
This vivid, cathartic music arrives four years after the band’s 2020 comeback album Down in the Weeds, Where the World Once Was. That record’s zoomed-out lyrics and meticulous studio atmosphere resonated during the peak of COVID lockdown and led to Bright Eyes’ long-awaited return to the road in summer 2021. By this point, they were also deep into their Companions project, in which the band reissued their back catalog via new label Dead Oceans along with newly recorded reinterpretations of material throughout their songbook.
When they hit the studio with Oberst’s longtime bandmates—the multi-instrumentalist and producer Mike Mogis, the keyboardist and arranger Nate Walcott—they opted for a fast-paced approach that drew inspiration from formative influences like The Replacements and Frank Black. They sought textures that burst from the mix like gnarly splashes of paint on a blank canvas; they opted for first takes and spontaneous decisions. Referring to 2005’s starkly produced landmark, I’m Wide Awake, It’s Morning, Mogis laughs, “It took us 20 years to make another record that sounds like a band playing live.” But where those songs exposed the raw beauty of the group’s folksier side, Five Dice, All Threes thrashes and squirms and resists classification. In the brilliant expanse of “El Capitan,” they blend a galloping rhythm you might find in a Johnny Cash standard with a swell of funereal horns, shouted vocals, and lyrics that read like a sobering farewell between twin souls. “So they’re burning you an effigy,” Oberst sings. “Well, that happens to me all the time!”
As per usual, the music comes loaded with subtext that invites deep listening—the signature touch of a band who has always honored the album as its own exalted work of art. In the background of these songs, you can piece together a story about love and fate and identity, stitched together from samples of the 1954 Frank Sinatra film Suddenly, a layered orchestra of people sobbing, and a game of dice that borders on cosmic and lends the album its framing device and winking title: In the game of threes, the titular move would indicate a perfect roll. Perfection, however, means something different in the world of Bright Eyes, where our flaws are what grants us authority and finding meaning is only possible if we bear witness to the dark, winding journey to get there. On Five Dice, All Threes, Bright Eyes embrace these beliefs with music that feels thrillingly alive, as if we were all in the room with them, shouting along and gaining the strength to move forward together. It doesn’t just sound like classic Bright Eyes. It sounds like their future, too.
When they hit the studio with Oberst’s longtime bandmates—the multi-instrumentalist and producer Mike Mogis, the keyboardist and arranger Nate Walcott—they opted for a fast-paced approach that drew inspiration from formative influences like The Replacements and Frank Black. They sought textures that burst from the mix like gnarly splashes of paint on a blank canvas; they opted for first takes and spontaneous decisions. Referring to 2005’s starkly produced landmark, I’m Wide Awake, It’s Morning, Mogis laughs, “It took us 20 years to make another record that sounds like a band playing live.” But where those songs exposed the raw beauty of the group’s folksier side, Five Dice, All Threes thrashes and squirms and resists classification. In the brilliant expanse of “El Capitan,” they blend a galloping rhythm you might find in a Johnny Cash standard with a swell of funereal horns, shouted vocals, and lyrics that read like a sobering farewell between twin souls. “So they’re burning you an effigy,” Oberst sings. “Well, that happens to me all the time!”
As per usual, the music comes loaded with subtext that invites deep listening—the signature touch of a band who has always honored the album as its own exalted work of art. In the background of these songs, you can piece together a story about love and fate and identity, stitched together from samples of the 1954 Frank Sinatra film Suddenly, a layered orchestra of people sobbing, and a game of dice that borders on cosmic and lends the album its framing device and winking title: In the game of threes, the titular move would indicate a perfect roll. Perfection, however, means something different in the world of Bright Eyes, where our flaws are what grants us authority and finding meaning is only possible if we bear witness to the dark, winding journey to get there. On Five Dice, All Threes, Bright Eyes embrace these beliefs with music that feels thrillingly alive, as if we were all in the room with them, shouting along and gaining the strength to move forward together. It doesn’t just sound like classic Bright Eyes. It sounds like their future, too.