There has been a cult-like fandom around Conor Oberst and particularly his Bright Eyes project for decades now, but considering the last year that Phoebe Bridgers has had, there is an argument that the excitement around her is at a greater pitch currently. Needless to say, their joint appearance as Better Oblivion Community Center on a Saturday night in London roused a passionate audience, prepared to be swept up in the power of two utterly beloved musicians.

The night started, as expected, with some of the punchiest cuts from Better Oblivion Community Center; ‘My City’ and ‘Big Black Heart’ inviting the first purrs of a crowd singalong, before the rocking ‘Sleepwalkin’’ incited fist-pumping and arm jostling. The mood truly settled in, Better Oblivion took their first detour – the most expected one – in the form of ‘Would You Rather’ from Phoebe’s Stranger In The Alps, on which Oberst features. In the live performance Bridgers took centre stage, with Oberst just hopping in to deliver his chorus duet, and in the moment it felt like the older generation bequeathing power to the younger, approvingly watching on as she thrived in the spotlight.

Switching back to cuts from Better Oblivion, the band really shone on the most upbeat tracks, notably cathartic rocker ‘Dylan Thomas’ and squelching sing along ‘Exception To The Rule’, which practically had the whole audience bouncing along. The first real surprise of the night came in the form of ‘Lime Tree’, a cut from Bright Eyes’ Cassadaga, completely reworked as an anthemic rocker with Bridgers taking lead vocals – and absolutely stealing the show in the brilliant re-imagining. Again this moment seemed like Oberst handing the baton to Bridgers, completely proud and assured of his partner to rejuvenate his old material. The balance was perfect, and made their cover of The Magnetic Fields’ ‘All The Umbrellas In London’ a joyous romp.

At the first strums of the Bright Eyes classic ‘Lua’ an expectant hush fell over the crowd, with many aggravated fans shushing others who dared utter anything over this song that spoke to a generation. A song rarely played by Oberst in actual Bright Eyes gigs, this was a true treat – especially as he and Bridgers switched back and forth between verses, and you could tell that it was her presence in the performance that had convinced him to drag out this old fan favourite.

However, perhaps the most important and special parts of the night were when they performed tracks from Bridgers’ solo repertoire – and Oberst sang them. Both ‘Funeral’ and ‘Scott Street’ (saved for the encore), slotted perfectly into their setlist, and in seeing and hearing Oberst sing Bridgers’ words, the message of handing from one generation to the next was truly complete. It makes sense for Bridgers to have sung songs from Oberst’s legendary back catalogue – one that she grew up listening to – but for him to sing from hers was a true mark of respect and a badge of honour for the younger.

Following the incendiary ‘Scott Street’, which started the encore, they played another unlikely Bright Eyes anthem in ‘Easy/Lucky/Free’, Bridgers jumping up and down the drum riser in excitement at leading the massive track. The pair then scaled it back to conclude with the stoic ‘Dominos’, once again sharing the limelight equally, and both sending the crowd off into the Saturday air with a feeling of purpose, wellbeing and as though we had seen a glimpse of the our past and future.