8/10
Phoebe Bridgers is back, baby. The indie-folk songwriter has returned to center stage after a six-year solo hiatus with her latest album, Lost Weekend. The album had a unique rollout, filled with surprise pop-up shows and a one-dollar Madison Square Garden concert, where phones were prohibited.
A lot has changed for Bridgers since she last released. Bridgers went through a personal loss after Punisher, with her father passing away in early 2023. (She also lost a long-term boyfriend in Paul Mescal, and found a new one in Bo Burnham.) However, through it all, she certainly hasn’t been forgotten either, with songs like “Scott Street” and “Waiting Room” continuing to trend on social media. Her third studio album, Lost Weekend, confronts Bridgers’ grief head-on, producing some of her most tragic work yet. Even so, Lost Weekend still makes space for love and hope, creating an incredibly dynamic record that still screams “Phoebe Bridgers.”
The album opens with “The Outside,” a fitting intro both sonically and lyrically. Bridgers’ vocals are distorted throughout the verses, sounding robot-esque. She is clearly flexing her electro muscles, something she does repeatedly on Lost Weekend. Her songwriting also stands out, as she reflects on feeling separated from herself. “But I was on the outside, watching,” she sings. Here, Bridgers sets up the arc of Lost Weekend: she starts out feeling disassociated, but as the album progresses, she explores more of her emotions and fights to feel like herself again.
Bridgers follows this up with the lead single off the album, “Lost Boys.” The track is easily a certified car karaoke classic. I mean, the tune just makes it impossible for someone not to sing along. The song also delves into Bridgers’ own description of her lost boys, fit with historical references. “That one time in East Berlin / Whеn you threw a tantrum with a 57 / And broke a rib,” she sings. Yet, Bridgers still can’t resist the “lost boy” allure, despite their reckless behavior. “Lost boys, find me,” she sings. Peter Pan would be proud.
“Bobby” is the first true love song on Lost Weekend. The name Bobby, which recurs throughout the album, is a clear reference to Bridgers’ current partner, Bo Burnham. Bridgers sings confidently and proudly about their love, without shying away from permanence. “Now I don’t know if I can make it tonight / But what are you doing for the rest of my life, Bobby?” she declares. The joyful tune, skillfully crafted with folk-like instrumentals, is an exciting departure from Bridger’s usual tragic themes. More than anything, it’s just nice to see Bridgers happy for once.
“The Governor’s Waltz” is a true instant hit off the record. The song’s subtle piano makes it feel like the perfect background for a ballet performance. The lyrics are also very targeted and reminiscent, almost like a potential diss track. “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 song has already gained traction online, with fans believing it is about her past relationship with Paul Mescal.
The electronic experimentation hinted at in “The Outside” returns at full force for “Lost Weekend,” the album’s title track. On “Lost Weekend,” Bridgers fills a solid minute with ambient vibrations before exploding into a chorus of synth and electric piano. The song also features one of the simplest yet heartbreaking lyrics on the album, in which Bridgers wrestles with love not always being accepted. “I loved you and you couldn’t forgive me for that,” she sings.
Here, Bridgers’ use of a more amorphous melody works, as it contrasts with her electropop moment, creating an incredibly memorable tune. However, Bridger’s constant use of ambient sounds often makes songs on Lost Weekend fade into the background, despite solid lyricism and vocals.
After leaning into more electronic vibes, Bridgers returns to her folk swagger on “Haunted,” one of the standout tracks on the album. “Haunted” could pass as a piece peeled off the pages of the Great American Songbook, with its stunning guitar and violin and hopeful lyrics. Bridgers zooms in on the idea that life always keeps moving. “Water’s gonna flow in either way, flow in either way / My heart is growin’ either way,” she sings, harmonizing with her boygenius bandmates, Lucy Dacus and Julian Baker.
Lost Weekend’s final songs focus on Bridgers’ reaction to her father’s death. On “Still Standing,” Bridgers chronicles how loss can feel unreal, and the painful experience of knowing something is true without believing it. “I can’t imagine you dead / But you are every day,” she sings. Then, “Never Going Back!” feels like Bridgers’ final acceptance of the loss. “Never going back again / The way it used to be is not the way that it is,” she chants. Bridgers accepts her situation, seemingly learning to live in her new world after losing someone. Her impeccable songwriting makes these songs, despite their musical simplicity, some of the most moving on the album.
Overall, Lost Weekend is an incredible piece of work. With it, Bridgers offers something that feels universal yet deeply personal. Let’s face it, you would have to be a robot not to feel anything when listening to Phoebe Bridgers.
