By now, we all know the deal; Phoebe Bridgers’ sharp-witted and self-deprecating take on sadness has built her up into somewhat of a cult star. Still riding the high of 2020’s ‘Punisher’ album, Phoebe Bridgers has become known for creating intensely intimate lyrical worlds which cut straight through you like nothing else.
Already an indie-rock staple pre-COVID, the pandemic saw this particular fanbase blossom ten-fold and the band finally come eye-to-eye with adoring fans on the highly anticipated Reunion tour.
On the second night of a four show run at Brixton’s O2 Academy, Clash joins the throng of eager fans clamouring for a space.
‘Phoebe Bridgers’ in a classic metal band font plasters the screen and Disturbed’s well known ‘Down With The Sickness’ hilariously ushers the band onstage with a mighty scream of ‘ooh wah ah ah ah!’ As Phoebe enters, the crowd erupts, fuelled not only by the nu-metal blasting through the speakers but undoubtedly by the hours we’ve all clocked in shedding fat tears to Bridgers’ discography. There’s a visceral adoration in the room and Phoebe, clad in her signature skeleton imagery, accepts and reciprocates with a quiet confidence.
The crowd screams along to every song; “fuck the cops!”, “I hate your mom”, “I would do anything you want me to”. You can almost see a twinkle in Phoebe Bridgers’ eye as the audience roars her lyrics back at her. Truly holding us in the palm of her hand, she skilfully moves through her set, detailing moments of anger, hurt, heartbreak and resilience and in doing so provides space for our fears, our differences and our hurt. The band’s synergy and clear familial affection for one another carries the haunting music, drifting between quiet acoustic moments and orchestral sounding swells, JJ Kirkpatrick’s soft trumpet adding a cinematic air. Friends and lovers hold each other and sway slowly to the rhythm.
Phoebe Bridgers’ visceral storytelling is framed by innovative visuals, ‘Woodland’ scenes give way to haunted cemeteries against a backdrop of more stars than any Londoner is likely to see on any given night and between songs, Bridgers’ casual self-awareness shows itself as she banters abruptly with the crowd, falling serious when she needs to be. Recounting a story of a show in which audience members walked out at the mention of Roe v. Wade, she curtly states “if you think someone shouldn’t be able to get an abortion for literally any reason then… get the fuck out.” The crowd explodes with an agreeable cheer. The defiant smile that follows seems to symbolise that we’ve passed the vibe check.
‘I Know The End’ rightfully rounds off the night with its cacophony of instrumental chaos and screams, projected flames engulfing the set. The audience let out screams of their own and suddenly the band and us become one in a moment of pure cathartic release.
When the encore comes, it’s just Phoebe and a guitar. It feels special, like she’s chosen us to confide in and for the first time since she stepped foot on stage, the crowd don’t scream the lyrics back, instead hanging on every word.
Words: Oshen Douglas-McCormick
