For a while, the indie scene has regarded Los Angeles, California native Phoebe Bridgers as a well-liked new member of the beloved genre. With her 2017 debut album Stranger in the Alps, she was able to draw in a decent number of fans to her alternative sound and wise, yet relatable, lyrics. With the recent release of her latest album titled Punisher, Bridgers has established herself as one of the greats after receiving Grammy nominations for Best New Artist, Best Rock Performance, Best Rock Song and Best Alternative Music Album. The recognition was even acknowledged by legendary singer-songwriter Elton John. In his Apple Music 1 show Rocket Hour, he stated that he would “hit someone” if she went home empty-handed. Unfortunately for that “someone” Elton was referring to, Bridgers lost all the categories she had been nominated for.
Regardless of her recent loss, what remains true is the fact that Phoebe Bridgers has undeniable talent. One of her greatest musical gifts is something few artists possess. Bridgers music is produced and written to perfectly capture the odd yet criminally familiar feeling of ambivalence within relationships and life in general. A significant aspect of the human experience is interacting and forming relationships with those around you. Friends, relatives and lovers are all examples of people who come in and redefine the way you live your life. Soon enough, you begin to push people into categories. Those you love and those you hate, but what about those who make you feel a bit of both? Bridgers does a great job of channeling the mental strain caused by mixed feelings for those you cannot forgive but can’t entirely forget.
From what can be inferred from Bridgers’ lyrics, her life has garnered a decent amount of conflict. The biggest hit from her first album, the song titled “Motion Sickness,” is all about Bridgers’ feelings towards a former ex. “I hate you for what you did, but I miss you like a little kid,” she laments. The relationship was a toxic one, but memories haunt her: “There are no words in the English language I could scream to drown you out.” Bridgers’ soft voice and the sound of an equally gentle guitar tell the audience that she is nowhere near angry, just “sorry that it all went down like it did.” Towards the song’s final verses, Bridgers decides that she would like to see what would happen if she were to “surrender to the sound.” It is a conclusion that is all too familiar for anyone living with regrets tied to someone who used to be a source of happiness. Letting go is hard, but you learn to live with it. This exasperating feeling is further exemplified in Bridgers’ Grammy-nominated song “Kyoto.”
Interestingly, “Kyoto” has little to do with the Japanese city known for its tourism. The song starts off with Bridgers being in a subdued mood as she explores Kyoto with her bandmates. She eventually receives news from her father. “You called me from a payphone… to tell me you’re getting sober, and you wrote me a letter, but I don’t have to read it… I’m gonna kill you if you don’t beat me to it,” she explains bluntly.
Bridgers has once again introduced her thoughts and feelings on yet another estranged relationship. Still, this one is a bit more layered. Bridgers’ vocals in “Kyoto” and the overall sound is far from a depressing ballad. Instead, the guitar and trumpets produce a feeling of comforting nostalgia reminiscent of past happier days. Bridgers’ ambivalence towards her father is made explicit when she sings, “I don’t forgive you, but please don’t hold me to it.” These lyrics encapsulate Phoebe Bridgers’ remarkable gift of songwriting. Anyone who can feel anger and empathy knows how what it is like to be so torn. However, Bridgers can turn those feelings into words accompanied by the right kind of melody. She sees the world for what it is: complicated, ugly, scary, but nonetheless beautiful.
All in all, Phoebe Bridgers is an artist for the ages who resonates with those who have been exposed to harsh realities but possess enough love to keep moving forward.
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