Phoebe Bridgers returns to solo music six years later

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Phoebe Bridgers, “The Lost Weekend” (Album)

Six years can mean a lot of change for a person. But what does six years mean for Phoebe Bridgers?

Since the release of “Punisher” in 2020, Bridgers has been on quite a run. She’s gone on multiple tours—including a stint on the notable Eras Tour—and reunited with her band boygenius, with whom she went on to win a couple of Grammys.
The only problem was that Bridgers hadn’t put out any solo music since, aside from a couple Christmas covers (which we obviously loved). After all that, it’s hard not to get excited for some new music from Bridgers on her own.

The rollout for “The Lost Weekend” started with “Lost Boys,” which, in hindsight, is probably the weakest track on the album. Picking the right song to introduce a new album can be surprisingly hard for a lot of artists. “Lost Boys” almost feels like a calculated attempt at making something catchy enough to pull you into the album, which is funny because Bridgers has never really been much of a commercial artist. Sure, she could be if she really wanted to.

“Kill Me” makes a pretty strong case for being the album’s best song. Just three tracks in, it’s already the kind of song we wish had been the lead single. The sharp switch-up toward the end is jarring enough to make you check if the next track has already started, only for the song that follows to be just as rewarding. “The Governor’s Waltz” is Bridgers at her absolute best vocally, ditching the vocoder and letting all that sadness sit right in her voice. That haunting hymn coming in is such a nice touch, too. Naturally, the speculation starts. Who is this song about? (And she can pretend to be me/Since she took my place in my bed on that stage/I have not lost any sleep, she sings.) The lyrics are bleak and hit pretty hard. And sometimes, you know exactly what she means.

Honestly, the best way to describe the album’s soundscape, surprisingly, is by comparing it to her Christmas EP. The title track makes this pretty clear without needing much deciphering. “I loved you and you couldn't forgive me for that” has to be one of the album’s most brutal lines. It’s a pretty unconventional song structure, with just one verse and no chorus or bridge, before ending on a beautifully produced outro. What makes Bridgers such a great songwriter is her ability to get her point across without wasting a word.

“Still Standing” is a really good sentiment when it comes to sexism. “Pushed head first into the world/Just to be thrown in the street when you're dressed like a girl,” she sings. “I Can’t Wait” brings in some harmonica and features Cameron Winter. Fans of “Graceland Too” will probably find something to love in “Never Going Back!” Bridgers spends most of the song repeating the title, before a voicemail from her dad comes in at the end.

Bridgers, despite somehow doing this with every album, has found her sound once again. Maybe everything just works for her. All the bad luck she sings about eventually comes undone.

Troye Sivan, “She’s the Best”

Troye officially announced Thursday that his new album “She’s the Best” will be out October 9th. The first taste we get of the album is a pretty sing-spoken track. You can definitely hear the Charli xcx influence here, which isn’t too surprising considering the two went on a co-headlining tour. “SWEAT” must have literally brought their DNA together.

Benny Blanco, The Marías, “Memoria De Paz”

Benny Blanco released his new album “Hermoso” today. And, of course, the best track has to be the one featuring the beautifully draped The Marías. There’s just something incredibly enchanting about María Zardoya. It really feels like María is singing you under her spell.

KATSEYE, “WILD” (EP)

KATSEYE has a new EP out today called “WILD.” We already had two songs from the EP before its release, so it’s a pretty quick listen, but that’s okay. The group still manages to create a really clever moment. “Hootie Frutti” definitely has an earworm hiding in there, even if the song feels a bit try-hard at times. We think “Bel Air” is where KATSEYE really shines. Maybe stepping away from the hyperpop sound gives their vocals a chance to breathe.

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—Dawson Therre

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