The Phoebe Bridgers Reunion Tour: An Experience Worth Waiting For

phoebe-bridgers-reunion-splash

It had been just over two years since the last time I had attended a concert. I was apprehensive. I wondered if that passage of time had somehow quelled my love of the setting. Maybe I didn’t need live music experiences anymore, at least not with the same frequency as before. That’s what I was thinking, but then the lights went down, a band came on stage, I raised my camera to capture the moment, and felt that familiar rush wash over me. I missed this more than I knew.

It’s wild to think about how much has changed for Phoebe Bridgers since the last time she took the stage. Pre-pandemic, Bridgers was still carving her path, building on the early momentum of her debut, Stranger in the Alps, and her collaborative projects, boygenius and Better Oblivion Community. But then came Punisher, a perfect album that changed everything, but all took place in isolation. There was Bridgers in February, in attendance at a bizarre Grammys in her skeleton pajamas, never having had the chance to perform the songs that had changed her life in front of a live audience.

Truthfully, after all we’ve endured, it has made this late summer’s Reunion Tour the perfect opportunity to finally re-connect and share our experience of Punisher together. The tour’s dates were recently moved to outdoor venues, requiring proof of vaccination or a negative COVID test for entry. It felt about as safe as you can feel these days at an event filled with strangers.

MUNA opened the night – an electro pop trio I had no prior knowledge of. And guess what; it’s still so much fun to discover a new band at a concert. Led by vocalist Katie Gavin, the band exhibited an infectious joy onstage throughout their set, making it impossible to look away. Opening with tracks like “Number One Fan” and “Stayaway” from their 2019 full-length album, Saves the World, the band’s knack for creating dance-worthy tracks ranging in emotion and energy set the tone for the night. When they debuted their new track “Silk Chiffon” (featuring Bridgers), it made clear that MUNA is on the cusp of reaching another level.

To finally experience Punisher in person was…therapeutic? Healing? Relieving? It was something. Bridgers opened with “Motion Sickness” from her debut, making a subtle nod to the idea of our collective reunion. “Let’s experience something familiar before we dive into the new stuff.” From there, “DVD Menu” led into “Garden Song” which led into “Kyoto” and oh my god every song still sounds so perfect. Every track from the album happened in sequence with various other songs from Bridgers’ other works sprinkled within.

The setting fit the mood – dark, but lit with just enough light to create a “vibe.” A backing screen featuring an opening book that visualized the chapters of the performance. And of course, Bridgers and band decked in those skeleton PJs. Highlights of the show depended on your own personal attachments. For me, “Moon Song” proved just as sad and lovely as I had hoped. But it’s hard to outdo a choir of screaming to those final moments of “I Know the End”. Every song was delivered with care. Every moment felt worth absorbing.

In hindsight, I can’t think of a better show to reacquaint myself with the setting. Punisher has meant more to me in this past year than I can put into words. Having the opportunity, after all of this time, to experience it like this? In a weird way, it almost felt worth the wait.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

The Best Songs of 2020

You can view our list of The Best Albums of 2020 here.

For many of us, our music listening experience in 2020 was vastly different from any other year. I honestly have no memories of jamming to songs in my car, hearing music over the loud speaker at a bar, or enjoying live music with a crowd of people on a warm, summer night. In 2020, my memories are mostly indoors, and very often, alone.

So what songs do we turn to in those moments? What tracks kept us company through the ups and mostly downs of a year lived largely in quarantine? We did our best to build a list of songs that captured the emotional highs and lows we felt, along with tracks that spoke something meaningful or something new. Take a look – and a listen – and let us know your favorite tracks in the replies!

15. AJR – “Bang!”

Here’s a real wild card. I was supposed to see AJR play this spring but then quarantine started. They’re a recent addition to my Spotify, but my brother is a big fan and has been trying to get me to listen to them for about a year or so now (Hi Nick!). He was largely unsuccessful in his attempts, but their radio single “Bang!” was when I hopped on the train. I’m not generally a Top 40 gal, but this song is refreshing. It’s radio friendly but original. Lyrically, it’s about growing up and how difficult that is, but sonically we’re at a party. It’s a promising single for the band’s fourth album and I’m excited to see how it fits in with the rest of it (We can expect that project early next year.) – Nadia Alves

14. The Bombpops – “Double Arrows Down”

“Double Arrows Down” is a raging punk song that focuses on guitarist/vocalist Poli Van Dam’s struggle with diabetes. Focused around an incident of passing out at a gas station due to complications from the disease, the song is equal parts terrifying and filled with rage (“I’m sitting there, in another cold pharmacy chair / Standing by while they suck my veins and wallet dry / I can write all these defiant songs, but my life is still reliant on machines”). The Bombpops portray the terror of this disease against a blazing punk riff and an electrifying pop chorus. The full horror and frustration of the disease is played out against the sound of rebellion, and hope to ultimately battle diabetes to the end. – Kyle Schultz

13. Juice Wrld – “Righteous”

Juice Wrld’s posthumous 2020 album Legends Never Die is a breathtaking view of what was to come from the emo rapper before his tragic passing last December from a drug-induced seizure. “Righteous”, the album’s lead single, serves as a haunting reflection on his mental health struggles and self-medication in an attempt to ease the pain. His words float gently atop the melancholy beat as he ponders on death and the cyclical nature of his addiction. “Taking medicine to fix all of the damage / My anxiety the size of a planet”, he confesses as his voice begins to rise. It’s a track that encapsulates the heart of a gifted artist gone far too soon. – Kiel Hauck

12. Twenty One Pilots – “Level of Concern”

For only releasing one song in 2020, Twenty One Pilots have had quite the impact this year. They released “Level of Concern” in April, when quarantine was only a two week affair and we all were baking sourdough and blending our coffee. Ah, simpler times. Personally, the guys have had a lot going on as well — Josh got married at the end of December, and Tyler and Jenna had their baby. They still found time to give us the perfect song about the absolute stress and anxiety of living through a pandemic, and it’s easily the most on-the-nose song of the year, which is why it makes my top songs for 2020. Plus it’s a bop. – Nadia Alves

11. All Time Low – “Sleeping In”

“Sleeping In” is the best song All Time Low have written in a decade. Seamlessly blending the pop direction of recent albums and the Warped Tour mosh pits of albums past, the song is the personification of the band’s career. All at once oozing in swagger and sexiness, “Sleeping In” is the song that All Time Low were always meant to write. The song manages to find restraint in the verses with a pop-funk mesh (“We got shit to do, you got work / But we fall right back into bed, like it’s all just a game / And we can’t help that, no we can’t help that”) and an all-out punk rock chorus that rivals All Time Low’s best (“If I said ‘I want your body,’ would you hold it against me?”). – Kyle Schultz

10. The 1975 – “Jesus Christ 2005 God Bless America”

I’ve long held that The 1975 are at their best when their songs are stripped down to an elemental level, which is what makes “Jesus Christ 2005 God Bless America” one of their best. A painful, folksy track about secret loves forbidden by religion reaches unexpected heights thanks to contributions from Phoebe Bridgers. Could anyone else on the planet make lines as simple as, “I’m in love with the girl next door / Her name is Claire” sound as emotional and meaningful through cracking, whispered vocals? When Bridgers and Matt Healy come together during the song’s final chorus, their song of love just beyond their reach becomes magic – and tragic: “Fortunately I believe / Lucky me”. – Kiel Hauck

9. Phoebe Bridgers – “Moon Song”

Though not released as one of the singles from Punisher, this track from the album is my favorite. I mentioned the raw emotion of it in my album review. Generally the freshness of a song will influence how much it sticks in my mind before I toss it aside for something shinier I get distracted by, but this one is a true jewel on the album, Phoebe’s discography, and the year in music. It’s rumored to be inspired by Conor Oberst, but lines like “You’re holding me like water in your hands” is all too relatable in a year where almost all of us have experienced intense loss and a redefining of priorities. I could have chosen any one of the songs from Punisher as one of my top songs this year — the album is truly that great — but “Moon Song” just has a little something extra that takes it all the way to the top for me. – Nadia Alves

8. KennyHoopla – “how will i rest in peace if i’m buried by a highway?//”

The title track from KennyHoopla’s debut EP is a renaissance song of genre, mashing new wave rock with garage punk and creating a modern dance track with the sensibilities of The Yeah Yeah Yeahs. The song is an energetic track that sounds ripped from the early 2000’s indie scene. However, the track is also a commentary on the uncomfortable nature of conforming to looking acceptable in society (“Culture is so claustrophobic / Claws to prove it hurts so good / And the party’s over / I’m still on your couch now, love”). The speed at which society moves and changes its opinion is a damaging thing (“How can I rest in peace if I’m buried by a highway? / Pain on the keys, is everybody still breathing? / Weight of my shadow, it gets more heavy, and it scares me, yeah”). The song turns the anxiety of the quickly changing world into a song that works equally on the dance floor as it does on a Midwestern emo playlist. – Kyle Schultz

7. Halsey – “you should be sad”

For the country ballad entry to the genre melting pot that is Manic, Halsey penned “you should be sad”, one of the rawest and most personal tracks of the year. It’s easy to mistake it as a break-up song (that was last year’s “Without Me”), but this is what you write when you’re on the other side, looking back at your ex with a smirk. Halsey tees things up mightily on the pre-chorus with the lines of, “No, you’re not half the man you think that you are / And you can’t fill the hole inside of you with money, drugs, and cars”, before bringing down the hammer with, “I’m so glad I never, ever had a baby with you / ‘Cause you can’t love nothing unless there’s something in it for you”. Ouch. It just might be the most empowered sad country song you’ll ever hear. – Kiel Hauck

6. Hayley Williams – “Crystal Clear”

In Hayley Williams’ solo project, Petals for Armor, she gave us songs about mental health, loss, femininity and new beginnings. Having the album since May really gave me a chance to pick through every track and I can confidently say “Crystal Clear” deserves a place on my top track list for the year. It’s the best closer I heard this year, and the way it brings the album full circle was necessary for something that began in such a dark and spiteful place. Hayley really took the time to truly process the past few years of her life and the decisions she’d made. Finishing it all off with a powerful song about forgiveness and clarity is a great lesson for all of us. – Nadia Alves

5. Taylor Swift – “Mad Woman”

One of the few venomous songs on Swift’s folklore, “Mad Woman” makes use of every line to fight back against an oppressive industry. On a base level, the song acts as a spiritual successor to Lover’s “The Man”, but there is much more to the song than the theme of “a woman scorned.” The song is at least partially a commentary against Scooter Braun, the music producer who bought all of Swift’s master recordings (“What do you sing on your drive home? / Do you see my face in the neighbor’s lawn? / Does she smile? Or does she mouth, ‘Fuck you forever?’”). One of Swift’s few rage-imbued songs, “Mad Woman” describes the toll taken on women who see themselves being taken advantage of by anyone (“Every time you call me crazy, I get more crazy / What about that? / And when you say I seem angry, I get more angry”). – Kyle Schultz

4. The Weeknd – “Faith”

The most exciting stretch of After Hours belongs to the three consecutive songs featuring production from Metro Boomin, culminating with “Faith”. Here, Abel Tesfaye’s vocals become an instrument in the mix as he circles the drain and loses his religion, confessing, “When I’m coming down is the most I feel alone”. It’s a startling lament to an addiction that creates a chasm between himself and others, but the song reaches its thematic and sonically thrilling climax in the final minutes as the entire tone of the song shifts. “I ended up in the back of a flashing car”, he sings as he gently describes the shimmering lights of the cityscape and ambulance siren. The song fades into “Blinding Lights” – the biggest pop hit of the year, which takes on a sinister new meaning in this context. Truly, no one has mastered this sleight of hand trick better than The Weeknd. – Kiel Hauck

3. Marina – “Man’s World”

This has been one heck of a year regarding social justice and reform. Historic protests against police brutality, and in the America election, the choice of our first female vice president —  just to name a couple. Marina has come swooping in from her break after 2019’s Love + Fear to bring us “Man’s World,” a scathing track about gender equality, one of many women to release commentary on the issue. As a woman, the time for artists to talk about important issues plaguing my demographic are always welcome, and Marina has dropped a truth bomb on us in this track. She also put her money where her mouth is by choosing an all-gal team for the track’s production. It’s absolutely my track of the year, with its drop in November completely upending any idea I had of my ranking. – Nadia Alves

2. MxPx – “Worries”

During the height of the COVID-19 pandemic, MXPX were one of the first bands to release an original song about the new reality we all faced. “Worries” managed to melt away much of the anxiety that I felt living through the height of Chicago’s lockdowns and inspired me to leave the quarantine I had been in and venture home for the first time in two months.

“Worries” managed to bypass fears of the disease at the height of the lockdowns in big cities, and express the emotional resonance of a classic MXPX song while inspiring listeners to persevere with enigmatic skate punk verses and a raging punk guitar chorus/bridge (“I’m not worried, I’ll be fine / Just want you to know you’re on my mind / I’m not worried, just worried sick, a little dose of you might do the trick / You’re the cure for worried sick”).

It’s almost solely because of this song that I began to gather myself again and prepare for the rest of the year in Chicago’s early May. Even now, in December, I give this song credit for inspiring me to cast off the fear of the Spring lockdowns and prepare for the return of the every day. It’s also been a constant soundtrack throughout the year as infections seemed to surge again, reminding me that a return to “normal life” is only a matter of time away. – Kyle Schultz

1. Dua Lipa – “Break My Heart”

It’s difficult to choose just one song from Future Nostalgia that fully encapsulates Dua Lipa’s thrilling breakthrough this year, but if “Don’t Start Now” was fan service for the general audience, “Break My Heart” represents Dua’s alt-pop queen potential. Featuring an irresistible interpolation of INXS’ “Need You Tonight”, this dance/disco track feels less like an 80’s homage and more like a doorway into the future of pop music. In short, it’s the most fully realized track of the Future Nostalgia concept.

But as you’re dancing, take a listen to Dua’s growth as a songwriter. “Break My Heart” is about those moments in an exciting new relationship when you’re standing on the edge of the cliff. Is it safe to jump? Who could ever know? “I’m indecisive, but this time I know for sure”, she sings on the opening verse before crooning, “It’s you in my reflection, I’m afraid of all the things you could do to me”, on the pre-chorus. It’s a giddy uncertainty we’ve all experienced set to the most electric soundtrack you could imagine. And in a year as dark as this, it’s a refreshing dose of light and innocence. – Kiel Hauck

Honorable Mention:

Run the Jewels – “Yankee and the Brave (Ep. 4)”
Billie Eilish – “No Time to Die”
Carly Rae Jepsen – “Comeback”
Ariana Grande – “Positions”
Childish Gambino – “Algorhythm”

Posted by Kiel Hauck

The Best Albums of 2020

Mercifully, 2020 is winding to an end. Not that a simple turn of the calendar will solve all of our problems, but as we reach the end of the year, there is a lot to process and reflect on – and maybe even learn from. One thing that has been a constant for the team at It’s All Dead this year is music. Music as a reprieve, music as a distraction, music as a friend. So we take a moment away from the dread to focus on some albums that brought us joy and helped us through the toughest moments of the past year.

A quick note before we dive into the list: Our goal each year is to give a clear representation of the music that mattered to us the most while also reflecting the music that simply mattered. The larger the area in the middle of that Venn diagram, the higher it ranks on the list. Noticeably absent on this year’s list is the album that arguably mattered the most: Fiona Apple’s Fetch the Bolt Cutters.

During our team conversations as we began working on our end-of-the-year features, we realized that none of us had spent enough time with the album to warrant it making the list without it feeling extremely disingenuous. Right or wrong, we made the call to leave it off while acknowledging the impact of the album. If you haven’t heard it, take a listen.

So here we go. Take a look – and as always – let us know your favorite albums of the year in the replies!

15. Hot Mulligan – You’ll Be Fine

I feel like I often end up pulling some wild cards into our year-end lists, and this year my wild card is You’ll Be Fine. I meant to write about it when it released in March, but this year took a lot out of me which translated to a lot more listening than writing. For me, that meant returning to this Hot Mulligan album again and again, especially over the summer. It’s quintessential pop punk, which is both right up my alley and easy to get into. They explored more thoughtful songwriting on this album compared to their previous projects, moving closer to a Wonder Years level of consideration in their production. Even though I enjoyed their first album Pilot, this album makes me truly excited for the trajectory of this band: Up. – Nadia Alves

14. Knuckle Puck – 20/20

Though Knuckle Puck have been a growing force within the scene for years, the ominously named 20/20 is their most cohesive and well-structured album to date. Somehow finding the magic of normalcy, the album stands in contrast to the year it was released in and breathes fresh life into a genre that can quickly sound redundant—the midwest pop punk scene. 20/20 reminds the listener not to back away from the problems in their life, but instead reflect and learn on the experiences. Weaving traditional emo punk against some experimental tracks on the band’s signature sound, 20/20 finds Knuckle Puck forging ahead with a fire behind them that can only see the good even when it stares into the everyday horrors we all face.  – Kyle Schultz

13. Stand Atlantic – Pink Elephant

When pop punk is at its best, it allows us to lower our inhibitions, feel our feelings, and join a safe community chorus of fellow voices caught in the fray. Depending on who you ask, it’s been a while since that experience rang true, but Sydney, Australia, act Stand Atlantic are intent on reviving the spirit. Pink Elephant, the band’s sophomore effort, is everything a great pop punk release should be while constantly stretching its wings into new territory. Vocalist Bonnie Fraser unravels the tangles that hold her back, singing “My guts keep falling out / And I’m starting to disintegrate / I’ll carry on / Yeah, it’s just like that” on the album’s opener. Call it a lament if you want, but it works better as a thesis statement on forging ahead. – Kiel Hauck

12. Neck Deep – All Distortions Are Intentional

This is the first and only album on my list that is truly escapist. A concept album about fulfilling our emo dreams in a world where we truly care about others is a necessary course of action that could make true change if we implemented it in the real world. Easily one of the most positive and thought-provoking albums to come from the pop-punk genre this year, All Distortions Are Intentional is another addition to Neck Deep’s maturing discography, and a project by a band that has truly come into their own form of activism and wave-making. – Nadia Alves

11. New Found Glory – Forever + Ever x Infinity

New Found Glory albums are mostly easy to predict: loud, catchy and filled with easy sing-along choruses. Forever + Ever x Infinity excels in that it acts as an album filled with fairy tales. The band lean heavily on their roots of writing songs about relationships, but through a lens of maturity and humor. The result is an album that both reflects on the band’s roots in pop punk, as well as presses forward with an easycore crunch and shining pop choruses (“Greatest of all Time”). Sometimes cheesy, sometimes hopelessly romantic, New Found Glory’s 10th album acts as a perfect followup to the much celebrated Self-Titled album by reflecting on the themes of that record with a middle-aged point of view and the sobering reality that only time can grant. – Kyle Schultz

10. Run the Jewels – RTJ4

Hip hop fans waited patiently for the fourth installment from rap duo Run the Jewels, but RTJ4 actually arrived early. With the release date suddenly pushed forward in the midst of protests against police brutality due to the deaths of George Floyd, Breonna Taylor, and Ahmad Arbery, Run the Jewels owned the moment and captured the national outrage. Like all previous Run the Jewels albums, RTJ4 is rife with rattling bass-lines and rapid fire lyrics from Killer Mike and El-P, but this installment feels like pointed protest music right from the jump (“Yankee and the Brave”). Maybe revolution music is a more apt descriptor. – Kiel Hauck

9. All Time Low – Wake Up, Sunshine

Wake Up, Sunshine is All Time Low’s best album in a decade, perfectly balancing the pop sensibilities the band have been striving for with the punk rock buzz that earned them an adoring audience. The album is mature and reflective, but also looks confidently forward with a style that hopefully comes to define the band moving forward. A thematic sister album to fan favorite Nothing Personal, Wake Up, Sunshine highlights the growth of the band (“Some Kind of Disaster”), as well as emphasizes their storytelling ability (“Wake Up, Sunshine”) and features the best song the band has written in years (“Sleeping In”). – Kyle Schultz

8. Halsey – Manic

Manic shouldn’t work. The third full-length album from Halsey is a mess. But like paint crawling itself across the canvas, the idiosyncrasies begin to intertwine, giving unique views of mental illness and the weight of fame as you zoom in and out of the portrait. Halsey’s greatest strength as an artist has always been her vulnerability and willingness to display her deepest fears in a way that feels more than relatable. With Manic, she somehow delivers her most cohesive work despite there being no clear genre. Simply change tracks to switch between country, rock, R&B, and more. The navigation of it all feels as honest and messy as any great therapy session should. – Kiel Hauck

7. Soccer Mommy – Color Theory

Many of the albums that ended up sticking out to me this year dealt with the heavy things. That is in part because I’m a heck of a pessimist, and also because the year we’ve had has been made for us pessimists. With Color Theory, Sophia Allison showed us contrast. With the color triad of yellow, blue and grey, she artfully wove a true story about loss, illness and grief – something too many of us have experienced in some way or another this year. I’m a sucker for her lo-fi sound, and it definitely added some variety to my music this year. Hopefully, Sophia Allison should be in for a great next couple of years as she rises in the indie pop sphere. – Nadia Alves

6. The Weeknd – After Hours

We were merely one week into quarantine and fear when The Weeknd dropped After Hours, an album that eerily captured the feelings of isolation so many of us were (and still are) feeling. On surface level, the album reads like textbook Tesfaye, but closer examination reveals deep and fascinating artistic maturity. After Hours studies remorse and self-reflection on the other side of a hedonistic ride. Here, the blinding lights and shimmering boulevard are blurry and distant – something to long for, but not before a winding back road of questioning and self-loathing. – Kiel Hauck

5. KennyHoopla – how will i rest in peace if i’m buried by a highway?//

KennyHoopla is the type of artist all musicians dream of being. His newest EP,  how will i rest in peace if i’m buried by a highway?//, perfectly blends elements of R&B, emo, new wave and pop, among other genres, to create a bridge across the realm of music. Although just a few songs in length, KennyHoopla takes advantage of each moment by weaving an intensely honest record filled with admissions of inadequacy and fantasticism (“dust//”). Delivered with emotional depth and the intensity of a superstar, KennyHoopla sounds vibrantly original and deeply nostalgic. In just six songs, his EP accomplishes more with its time than some musicians do in their entire careers. – Kyle Schultz

4. Hayley Williams – Petals for Armor

When I preordered my copy of Petals for Armor on vinyl, I did so with the expectation that it would be both a great album and my top album of the year. While it didn’t quite top my list, it felt like an album that truly mattered – an album she wrote for herself rather than for a mainstream audience. I love Petals, and I think it’s the most important project to come from Hayley Williams. She truly explored and processed a lot of things through the album, and she took us along for the ride and prompted us to be more introspective and openminded when it comes to taking care of our mental health. She brought up a lot of personal feelings regarding loss for me, and in turn, I ended up dealing with some of the things I had pushed away. I’m grateful for that. – Nadia Alves

3. Dua Lipa – Future Nostalgia

English singer and songwriter Dua Lipa showed flashes of what was to come with her 2017 self-titled debut, but chose to shed away any preconceived notions of powerhouse pop with Future Nostalgia, an album bubbling with disco and dance spirit. Everything about it works, specifically because Dua Lipa takes full control of her art in every way without the slightest hint of restraint. 

The album never slows down, even as it veers between lanes, blurring the lines between its influences and Dua’s own original, melodic concoctions. “You want a timeless song / I want to change the game”, she tells us mere seconds into the album. A factory-made pop star she is not. What a fabulous invitation to lean into the experience and dance away the aches of the shittiest year in recent memory. – Kiel Hauck

2. Taylor Swift – folklore

Releasing one career-best album is a crowning achievement for any artist, but to deliver two within a year is something special. Swift’s surprise album folklore perfects her ability to tell a story by blending personal stories and fictional characters in such a way that it’s nearly impossible to tell which is which. Folklore excels as the perfect representation of who Swift is as an artist by stripping away everything that we thought made a Taylor Swift album—the glamorized production values, over-the-top choruses and the electrifying pop elements that have punctuated her recent albums. At its base level, folklore is an indie album of sweet songs (“mirrorball”), but the songs are intimate, intricate pieces of art with as much depth and scope as a fleshed-out pop hit.

Unafraid of the silence between notes, folklore puts the melody and story first and foremost. The album strips away all expectations fans had of who Swift is as an artist by showing them something better. Soft, sincere and honest even when fictional, Swift has reinvented her career by stripping her music to its essentials and finding just as much, if not more, meaning in each song (“mad woman”, “betty”). – Kyle Schultz

1. Phoebe Bridgers – Punisher

This year’s top album was actually quite a difficult and personal debate for me, but after a lot of reflection and back and forth, the bell rang and I lifted Phoebe Bridgers’ hand as Punisher was declared the winner. Her gentle delivery and poignant writing was a welcome break for me this year, a year when I’ve been so up in arms about — well, just about everything. It gave listeners something to direct their sadness and confusion at for 40 minutes and 37 seconds.

Phoebe didn’t shy away from the harsh reality of her life and her past in Punisher, and the raw honesty is what has kept me coming back throughout the latter half of the year. It takes a lot for me to consider an album as the best, and not only is it the best album of the year, it’s the best in Phoebe’s discography. She’s showed her maturity and individuality here, and that counts for everything in my book. – Nadia Alves

Honorable Mention

PVRIS – Use Me
Haim – Women in Music Pt. III
Lady Gaga – Chromatica
Blaqk Audio – Beneath the Black Palms
The Bombpops – Death in Venice Beach

Posted by Kiel Hauck

Review: Phoebe Bridgers – Punisher

In true Phoebe Bridgers fashion, her new album Punisher runs the gamut, with a title that fits the bill. She sings about childhood, faith, substance abuse, and loads of other realities that cut to the core. From the beginning of “DVD Menu” to the final notes of “I Know the End”, listeners are brought to their knees. It’s beautiful.

You can buy or stream Punisher on Apple Music.

I’ve casually enjoyed Bridgers’ music since 2017’s Stranger In the Alps, but unlike many others, I didn’t give her much thought until lately. When I think of women in recent music that stick out to me, I often think of Bridgers’ friend Julien Baker, who joins Bridgers on track 10, “Graceland Too”. I don’t know what it is about women who write sad music, but I can’t get enough. I suppose I feel a kinship to those who believe that women can be both forceful and feminine, and the way that Phoebe and others in her class tackle these subjects embody that for me.

The album begins with “DVD Menu”. She said in her Apple Music interview that it samples the final song from Stranger, and it’s a sweet bit of continuity that ties the two projects together. It continues with the single “Garden Song”, a track about personal growth. The next track, also a single, talks about how the foundations built in our childhood influence the adults we grow to be – even when we don’t think they will.

The ideas about feeling unworthy of the love and success she’s garnered over her years of traveling and playing music are relatable for anyone who has tried to make a difference in any way. The title track about meeting her musical hero, Elliot Smith, and worrying that she’ll simply be a nuisance rather than a welcome guest is relatable to anyone who looks up to those who have made a difference. The album is deeply introspective and offers a raw look into how Phoebe has grown as a performer since stepping away from PAX AM and paving her own path.

My personal favorite track is “Moon Song.” It stuck out to me from my first listen and I’ve looked forward to it every listen since. It cuts deeply in a way that I guess I don’t understand. Maybe I’m just not ready to face that emotionally yet? Either way, it’s a masterpiece and even though it’s smack in the middle of the album, I think it’s the best track.

Suffice to say, I love the new Phoebe Bridgers album. The gentleness in her delivery completely counteracts and dulls the knives she sings about. It’s a true escape in a time where it can be necessary to step back and take a breather.

5/5

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.