Becoming known for her uniquely sincere style, Phoebe Green embraces change and the darkest parts of herself in the midst of a slew of industrial synth in new album ‘Lucky Me’. Her sophomore album, she makes it her mission to hold nothing back, interrogating herself, playing prisoner, good cop and bad cop all at once throughout the thirteen track strong release. ‘Lucky Me’ (a phrase Green even has tattooed across her hand in bold) stages herself as the anti-hero of her own story, dealing with the nuances of social anxiety, attachment and trust issues, among other hot takes all huddled under the existentialist umbrella so reasonably present within Phoebe’s generation. After floating on the edge of the music world since 2016, Green now takes the dive, shedding the scales of an indie artist and embracing a brave new genre-defying fusion ranging from new romantic to echoes of hip-hop to the darker, industrial sides of synth pop.
’Lucky Me’ is the title track for a reason; sparsely placed high-hats suddenly give way to heavy Tame Impala-esque bass, encompassing the sound with such intent that it’s almost guaranteed to make you bust out your bass-face. Green’s diverse vocals shift between wry gothic tones and soft emotive calls of “I’m such a lucky girl…”, echoing over the chorus with an intense melancholic power that recalls something of Bjork’s ‘Army Of Me’.
Phoebe Green’s emotive vocals are purposely centered within the record, with layers of harmonies, rounds, whispers and shouts weaved throughout. Green finds her voice in ‘Lucky Me’, figuratively and literally.
We’ve all had a night out where it all suddenly turns a bit existential… Green manages to capture the feeling with unnerving accuracy with ‘Crying In The Club’. Providing us with some Lily Allen-esque British pop realism with spoken style lyrics, Green dryly reels out lists of contradictions and observations of monotony; ‘Nothing changes if nothing changes if nothing changes’ rings out over incessantly dizzying synth.
With each new track, Phoebe Green confides in us in new ways, hoping to be understood, hoping to provide comfort and a palpable catharsis to those that do.
Green’s guitar led sound that fuelled her 2016 debut ‘02:00AM’ is moulded, reshaped and presented as something entirely new, a web of intricately produced sounds that provides the framework for Green’s self-dissection. The trusty guitar sound is not abandoned though, making an appearance on ‘Clean’, a lofi sad bop dripping in reverb and careful vulnerability.
‘DieDieDie’ possesses another, darker kind of vulnerability, uneasy synth arpeggios running underneath a Billie Eilish style darkness and soft vocal vibrato; “try to keep out the creeping dread, every time I feel quietly content.” A feeling many of us know far too well.
Phoebe Green explores and elevates her creative visions with ‘Lucky Me’, with helping hands by some of pop’s most innovative producers; Kaines and Tom A.D as well as lead producer for the album, Dave McCracken whose work history includes music legends The Stone Roses, Depeche Mode, Florence & The Machine, a roster that aligns too perfectly with Phoebe’s genre blend. It’s clear how much (and I quote) “blood sweat and vomit” Green poured into this album, an impressively laid bare creation that finds strength in its own vulnerability and encourages us as the listeners to do the same.
Words: Oshen Douglas-McCormick