As I promised just a few days ago, I’m doing a quick Phoebe Bridgers Deep Dive, to better appreciate the talented singer-songwriter in advance of her third solo studio album.

This week I’ll feature songs from her first two full-length albums, as well as an EP and LP she recorded with supergroup boygenius and an album she recorded with Bright Eyes frontman Conor Oberst under the name Better Oblivion Community Center.

My daughter informs me that those studio releases are only the tip of the Phoebe iceberg, as she has recorded a slew of independent, unreleased (but easily findable) tracks, and many one-off collaborations. I’ll dedicate next week to several of those.

Bridgers grew up in Pasadena, California, and started playing in bands as a teen. At 20, she released an EP of original material titled Killer on the label of singer-songwriter Ryan Adams, with whom she had a troubled romantic relationship (he was married to actress Mandy Moore at the time). Bridgers was one of seven women who later spoke out for a New York Times article on Adams’ abusive behavior.

Her first album, Stranger in the Alps, dropped in 2017 to effusive critical acclaim. It set the template for her melancholy indie folk style, a sound very reminiscent of one of her idols, Elliott Smith.

Like Smith, Bridgers has a knack for sneakily catchy melodies. It took me three or four listens to really latch on to most of these songs, but once I did they had their hooks in me. She is an artist who rewards attention, not passive listening.

Stranger in the Alps is filled with songs about failed relationships and death; in a way, it’s music to slit your wrists to. But Bridgers’ strong spirit shines through, and her lyrical specificity gives the songs a real personality. She doesn’t lean into her wry wit often on this record, but it’s lingering beneath the surface. The fact that the album’s enigmatic title turns out to be a reference to the edited-for-TV version of The Big Lebowski suggests she has some life in her yet.

I have several favorite songs on this album, including the ethereal ‘Georgia,’ the piano ballad ‘Killer,’ and ‘Would You Rather,’ which features Oberst.

But I have to single out the album’s third single, ‘Motion Sickness,’ Bridgers’ most popular song and one of her very best. Written about her relationship with Adams, it’s the album’s most upbeat and pop-infused song. Alternately biting in its sarcasm and raw in its emotional honesty, this is a modern classic.

🎵 Part of the Phoebe Bridgers Deep Dive 🎵
This post is part of my exploration of Phoebe Bridgers’ studio catalog.
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