On “I Know the End”, the protagonist acknowledges an apocalyptic end of the world – “No, I’m not afraid to disappear / the billboard said, ‘The end is near’ –while simultaneously accepting it – “I turned around, there was nothing there / yeah, I guess the end is here.” These lyrics reveal a mundanity of the world that her characters are regularly let down by and which often leaves them feeling melancholic. On “Funeral”, she is “bored to tears”, a lyrical play on the expected “bored to death”. On Punisher’s first single, “Kyoto”, the character finds herself bored while exploring a Japanese temple and subsequently becomes disinterested in the entire trip abroad. Her protagonists often express boredom with the world with an acute honesty and the absence of hyperbolism that lends itself to her uniquely identifiable sense of melancholy. Lyrically, Bridgers’ songs are concerned with the mundane. On their surface, her songs seem like they would be good company for a lazy morning or a solo night drive, but they quickly reveal themselves to be more effective for processing unshakeable, pensive sadness. Bridgers’ music is tender and compassionate, but rarely ever is it tranquil or peaceful. “It’s so fun to play a show and then have somebody come up to you and you’re laughing about trauma, basically,” Bridgers says in an interview with MTV, “You’re laughing about a shared experience.”īeyond themes of traumatic experience, this melancholy is evident in her song titles alone: from “Funeral”, the fourth single off her debut album, Stranger in the Alps (2017) to “I Know the End,” the final track on her most recent album Punisher (2020). Tongue-in-cheek or not, Bridgers’ music is certainly melancholic, something of which she appears to be aware.
Milne’s children’s book series, Winnie the Pooh. It came on a childhood trip to Disneyland, she says, when she ran into Eeyore–the downtrodden donkey from A.A. In an interview with Rolling Stone Magazine, singer-songwriter Phoebe Bridgers remembers her first time meeting her personal idol.
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