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Phoebe Bridgers nor Conor Oberst are craving the existential soap opera of modern politics, just like the rest of us. At the beginning of "Dylan Thomas", from the duo's collaboration as a Better Oblivion community center, they reveal the truth of their twisted compulsions to witness a bluffing show at the end of the street – a general speaking in the middle of 39, a cloud of confetti, flags and a screaming anthem. Like a television show where the sound and the image are never perfectly synchronized, a fraction of a second divides the voices, emphasizing that they arrived here alone, animated by their own morbid fascination. This is the equivalent of thousands of people refreshing Twitter at once, waiting for the latest news or the latest rumors of indictments, closures or walls – a loneliness shared in our interconnected silos.
But in the second verse, they seem to wake up, repelling the discomfort in a series of achievements and responses that invoke the splendor of Traveling Wilburys. Oberst and Bridgers exchange insults and inspiring ball points – idiots do not play chess in four dimensions – like lost friends who have found each other. "I'm getting greedy with this private hell / I'm going alone, but it's just as good," they sing together in the chorus, their voices flexed like a pair of biceps. But it's hard to believe them, standing up, fighting side by side and singing to find the strength of solidarity.
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