![]() ![]() Noah Gundersen and Phoebe Bridgers perform 9 pm Friday, Nov. Bridgers feels content to sing the four walls of her bedroom as metaphor for her mind and her own claustrophobia. Like Bridgers, Gundersen expresses big emotions, but over electric guitars and big sweeping, almost U2-like moods, he aims for the horizon. Gundersen’s clenched-jaw American rock vocals sound a little like Ryan Adams when Adams does the ’80s, but also a little like Bryan Adams’ own 1980s heyday. He’s touring behind his latest release White Noise, an album of earnest, extroverted anthems. Performing with Bridgers in Eugene is Noah Gundersen. “I wanted a headset microphone and a dress that turned into a pantsuit.” ![]() “I wanted to be her when I was a kid,” Bridgers says. She explains the song’s backstory: “A series of strange events led to me singing at a stranger’s funeral, and the experience made me confront my depression.”ĭespite her dark subject matter, Bridgers recalls the innocent teen-pop idol Hilary Duff helping her discover a love for music. “I’m singing at a funeral tomorrow,” Bridgers sings on the track, “for a kid a year older than me.” “Funeral” is about an experience we all have sooner or later: attending the funeral of someone our own age, bringing down that youthful sense we’re all going to live forever. Over gently finger-picked acoustic guitar on album stand-out “Funeral,” Bridgers sings with raw veractiy: “Jesus Christ, I’m so blue all the time.” The article detailed numerous allegations of his coercive. Eighteen months later, the story behind the song really hit home when Bridgers boldly spoke out about Adams to the New York Times. “From the instrumentation to the lyrics to the way he recorded himself, it’s perfect.” Smith’s influence shows up elsewhere on Alps in the sweetly sad chord progression, harmonies and melodic structure of “Demi Moore,” a song whose sound owes just a little something to The Beatles. Am Em F I guess it's too late to change it now C G Dm You know I'm never gonna let you have it F But I will try to drown you out G Am F Bridge G F G Am F G You said when you met me, you were bored G F G Am F G You said when you met me, you were bored Dm F D And you, you were in a band when I was born Chorus F C G F I have emotional motion. Opening up with a blunt 'I hate you for what did,' this grungy diss track finds Phoebe Bridgers laying into her former partner and collaborator Ryan Adams. In fact, Bridgers calls the late Portland songwriter’s catalog untouchable. But I’m getting better at finding comfort in it: reading, taking walks, listening to records.”Īnd that particular sense of isolation, along with Smith’s hyper-confessional style, permeates Alps. “It’s hard to gauge how lonely I am,” she explains, “compared to the average person. She performed with Portland folk-rockers Blitzen Trapper at an early tour stop the band made in town.īridgers admits she’s a lonely person, but she’s not sure she’s any more or less lonely than anybody else. She is in Europe and will soon be in Eugene, supporting her solo debut, Stranger in the Alps, an album of sad and acoustic lo-fi indie music landing somewhere folksier than Elliott Smith but just this side of roots music.Įugene audiences might recognize Bridgers. “I can see miles and miles of forest,” Bridgers writes, “and every once in a while a big open field.” It’s a lonely scene that sits nicely alongside Bridgers’ lonely music. ![]() Los Angeles songwriter Phoebe Bridgers is emailing me from Europe, riding in a van somewhere between Germany and the Netherlands. ![]()
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