Phoebe Bridgers is finally back, but only on her terms. Following a series of small, top secret pop-up shows across the country, the indie rock idol just played her biggest solo concert in years at Madison Square Garden — under the strict condition that the thousands of fans in New York City lock away their phones in special pouches and discard of any writing utensils upon entry.
Such precautions were put in place to prevent any of Bridgers’ unreleased material — much of which she played Thursday night (June 4) — from winding up online ahead of her yet-to-be-announced, widely rumored third solo album. Even allowing journalists on the premises was major, as media hadn’t had access to her prior hush-hush acoustic sets in southern and midwestern America over the past few weeks.
But after securing promises that no new song titles or lyrics would be published in post-show coverage, her team allowed Billboard into the arena to witness exactly what magic Bridgers has been brewing after spending about two years out of the spotlight, and three times that amount of time without releasing a followup to her sophomore effort, Punisher.
She did not disappoint. Now approaching her solo work with the experiences of earning critical acclaim for her part in Boygenius’ phenomenal The Album, opening for Taylor Swift’s billion-dollar box office smash Eras Tour and winning more awards than any other nominee at the 2024 Grammys behind her, she effortlessly caught her audience up to speed with stripped-down renditions of eight unreleased songs from her next project, performed on a tiny stage decked out with a simple couch, lava lamps and a small vintage TV. She had just two other musicians up there with her: Christian Lee Hutson on guitar and Nick White on keyboards.
The songs touched on the deterioration of love and how love changes shape, on going into hiding but wanting now to re-emerge, and on the desire to improve as a person, even if she might not know how just yet. The idea of death has always been laced into Bridgers’ music in a conceptual way, but now, she seems more interested in examining her own mortality, whether its the relationships and patterns that test it or the uncertainty of how her limited time left will be spent. Her parents make cameos throughout the music, with one particularly painful song addressed directly to her late father, elaborating on the complications of her relationship with him that she’s previously only ever hinted at in her music.
Bridgers also isn’t interested right now in playing for people who don’t support one cause in particular she’s passionate about. Aside from press, the thousands of fans in MSG were able to attend by winning seats via a lottery system, and those who were selected were required to donate as little as $1 to the Immigration Bond Freedom Fund assisting people who’ve been detained and deported under the Trump administration. “I hate those ICE idiots,” Bridgers said while thanking the crowd for contributing, quipping also that America’s immigration enforcement officers are like “cops squared.”
But overall, the night — and mini “tour” as a whole — was a chance for Bridgers to reintroduce herself to her truest fans before she makes a larger comeback later this year. As put by one person up front while as she slammed on the strings of her guitar during the most intense part of opening number “Motion Sickness,” while the audience sang every word: “We’re so back.”
Check out some of the best moments from Bridgers’ top-secret MSG show below.
Circle of Trust
After playing through some of the most beloved tracks in her discography, including “Waiting Room,” “Kyoto” and “Moon Song,” Bridgers had a hilariously indelicate way of transitioning into the section of new material.
It was something along the lines of: “We’re gonna play some new stuff, so if any of you figured out a way to stick an Apple Watch up your ass to record, please don’t put it on the Internet.”
Then, extending her arms up to the thousands of people in front of her, more than she could possibly even see from her vantage point, she added, “I trust you.”
Phoebe Goes Country
After a series of new songs about emotionally unavailable partners, a self-destructive budding romance and her father, each grounded in folksy, haunting melodies — which may very well sound entirely different in their studio versions, but at the show, ample harmonica provided by Hutson made many of them feel quite rootsy — Bridgers switched fully into country mode.
“Here’s a country song,” Bridgers said, introducing an uncharacteristically earnest and hopeful call to action about wanting to change herself for the better. It was easily the most upbeat track of the night, served with a side of acoustic guitar twang. (On a personal note, this one also included my favorite rhyme of the night: “ocean” with “Ibuprofen.”)
Blast From the Past
Switching from her guitar to Mellotron — where her mug sat between sips throughout the night — Bridgers told the crowd that she was going to play “a song about the past, which, it was pointed out to me is every song.”
It feels redundant to say the lyrics were personal, blunt and brutally honest, given that that’s possibly what Bridgers is best known for as a songwriter. But this one was on another level. (Let’s just say she addresses a long-rumored engagement to a certain Irish ex that she ultimately called off.)
Lights Up
Like countless concerts throughout history, there came a point where the entire arena lit up with people waving lights to show appreciation for a particularly emotional song. But for the first time in possibly a couple decades, they were made up of good-ole-fashioned disposable lighters, not phone flashes, which were all still locked in the pouches.
Bridgers was clearly taken with the rare return to the old ways of rock ‘n’ roll as she sang fan-favorite Punisher song “Graceland Too,” shaking her head incredulously at the sight. “Unbelievable,” she said quietly after the track ended.
An MSG Exclusive
Toward the end of the set, Bridgers played the last of her unreleased material, revealing that it was a song she hadn’t even performed on any of the other stops on her acoustic run. “If I f— it up, you guys won’t tell anyone, right?” she said from behind the Mellotron before diving into a sobering lyrical examination of her position in time as a woman, seemingly pondering the concept of motherhood, among other things.
After that, she hit everyone with a hhuge piece of news. “We’re going on tour,” she said casually as the arena erupted with screams, noting that she’s “really missed” playing shows on the road. (Presumably, she means a tour of a grander scale in support of her next album, but TBD). “We’re telling everyone else tomorrow, but we’re telling you guys tonight.”
She added significantly, “Hope to see you this fall.”
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source www.billboard.com ’
