Tag Archives: Phoebe Bridgers

Lockdown: Aps

I hadn’t told the others yet that he’d started messaging me. I don’t think they’d noticed us talking in the club, it was the week after April had hit that idiot that had been harassing Cora at the bar. They can’t have noticed because there’s no way they would have kept their mouths shut. It had seemed to happen quite naturally in the end, I’d turned away from the bar and bumped in to him, spilling most of my drink over his arm. It seemed natural although I was a bit suspicious that he’d finally decided that the only way he could work up the nerve to speak to me was by forcing us into a collision. He’d insisted it was all his fault – it wasn’t – and bought me another drink. I think the others were dancing to Marilyn Manson but I didn’t like the heavier stuff.

“His real name’s Brian,” he shouted over the noise.

“Your name’s Brian?” I shouted back, mishearing.

“No. I’m James,” he said, leaning in slightly closer to be heard. “Marilyn Manson. His real name is Brian. Kinda funny isn’t it?”

I shook my head, decided to have some fun with him. “Not really, James. My name’s Bryony and I’ve got a brother called Brian. It’s been in my family for generations. My dad can trace us back to Brian’s in the seventeen hundreds.”

For a moment I thought I had him. He looked down, raised his palms in apology, and was just about to stammer an apology when he caught the smile on my face, noticed the eyebrow raised in what I hoped gave me a look of arch amusement and not one of someone who’d had half a botched face lift. He laughed and apologised anyway. He spent quite a lot of the conversation apologising but I found his gentle nervousness kind of sweet. Unthreatening. And he had kind, green eyes that peered out from under a mop of curly brown hair. I wasn’t sure if I fancied him but there was something about him that I liked.

We’d swapped numbers at the bar and he’d left with a bunch of friends before the others reappeared from the dance floor. He’d messaged me the next day. I thought that was kind of sweet as well but I left an industry standard two days before I texted him back. Since then we’d been in touch pretty much every day and just before lockdown I was going to suggest we meet up, it was becoming evident that I’d be waiting quite a while if I wanted him to make the first move. It was still sweet and way preferable to the guy in the first term that had started sending me unsolicited dick pics but I did want him to show a bit of courage. Some backbone. Just, you know, no other kind of bone.

Lockdown had brought a different intensity to the messages. I figured he’d done the same thing as me and was using his laptop to write instead of his phone and it had meant that our exchanges grew longer. It felt almost old fashioned, like we were in a Jane Austen novel. Was that right? Were they the ones where formal gentlemen wrote stately letters of courtship to regal ladies? What did I know. I was a chemist and checked out of English at GCSE. Anyway, we moved from half sentences, emojis and gifs to paragraphs and punctuation. I had a suspicion that he was looking to hit me with some poetry.

On the third night he sent me a link to a livestream happening in a couple of hours. Phoebe Bridgers. I knew her a little bit, my eldest sister, Hannah, used to make me playlists to, in her words, educate me when I was younger. She tended to have songs that she’d regularly string together in sequence, little patterns that she was obviously pleased with, or maybe she just forgot that she’d put them on some of the other mixes for me already. One went from Fiona Apple’s cover of ‘Across The Universe’ in to Phoebe Bridgers’ ‘Motion Sickness’ and then out to the whole of Emmylou Harris’ ‘Wrecking Ball’ album. It was a great record but I wasn’t sure if she meant to add all of it or just made a mistake. I never asked her because she got a bit prickly if I questioned anything to do with her music. I always thought she was a bit snobby about it; she still hasn’t really forgiven me for going to that Little Mix reunion gig last year.

It was pretty late by the time the stream started but it was coming from the East Coast in the States so we must have been a few hours ahead. I had my screen divided between the music and a chat window with James. I didn’t really notice at first but after the first few songs I realised that he wouldn’t message me whilst she was singing, like he was at a real gig and didn’t want to talk during the songs. If I was honest I was finding him a bit too intense. It was getting a bit claustrophobic in the house as it was, I knew Cora was particularly finding it tough, and I was looking for an escape, a connection. In a way it wasn’t fair to try and judge how this might go when things went back to normal, everyone coped with the lockdowns differently, but then I guess that these periods of community quarantine were part of ‘normal’ now so maybe it wasn’t so unfair after all. I think I just wanted to imagine that if we ever really watched her play in concert that, at some point he’d reach for my hand and not let go until we were both clapping her back for an encore. It was late and I was tired. I left the laptop running but crawled into bed as she was finishing up another one I knew from my sister. It was another sad one but that was Hannah. I drifted off with the song’s coda whispering me down into sleep: anyway don’t be a stranger, don’t be a stranger.

I guess that was our first date.

Supercut

I’ve stared at a blank page for a while now, trying to compose this. I feel a little like the first time you tell someone you love them. The words are there but you can’t quite find your way into them. Deep breath. It’s only a blog post. It’s only a quick reflection on your favourite records of 2017. Okay. Here goes.

Lorde’s “Melodrama” was, for me, the standout record of the year. And, to be honest, other than a late and spirited run from Phoebe Bridger’s brilliant “Stranger In The Alps”, nothing else really got close. Nothing new at least. I had that thing again this year, which looks like it’s here to stay, where I either discovered or rediscovered something old. Poked around in the attic (technically Spotify but, you know, attic sounds more romantic) and dusted down something previously lost: this year it was a lot of “Rumours” era Fleetwood Mac, Neil Young’s “After The Goldrush” and, most of all, a lot of The Beatles. I mean a lot. I don’t think I really, genuinely, got The Beatles until this year whereas I will now quite happily argue the toss about why they are absolutely the greatest band to ever walk the planet.

I’m drifting. Another deep breath. Lorde. In some respects the fact that I love a record aching with the crushing sadness of being young, falling in love, falling out of love, figuring out your place in the world, dancing like it’s the only thing worth doing, hurting with the intensity that you hurt that first time you get hurt, hell, feeling everything with the intensity you feel that first time, isn’t a surprise. It’s maybe a surprise that a record that so perfectly encapsulates being young hit me like a sledge hammer when I have more grey hairs than brown, am probably closer to the end than the beginning. Bit it did. Does.

“Melodrama” is as damn near perfect as makes no difference. It’s smart and funny. It’s happy-sad. It lifts you up, it puts you down, and then it dusts you off and you feel like everything will be okay. It’s beautifully written: Lorde’s words were the sharpest, most perceptive, warmest, that I heard this year. There are lines that made me smile, lines that made me gasp, lines that made me cry. It’s a writer’s record. She strikes me as one of those musicians that could happily strike out and write prose or poetry – like Willy Vlautin or Nick Cave or Joni or Bob. I know that’s exalted company and she’s only 21 but I think she’s pretty special. And did I mention that I adore her record? God I adore her record.

There’s a host of details I love about “Melodrama” – things like the chk chk pause between the verse and first chorus in “Perfect Places” – but it’s the cohesion of the whole piece that has brought me back to it over and over. The narrative of the first rush of love – falling in and then falling out – framed loosely through a party isn’t necessarily new but I don’t think I’ve heard anyone articulate the experience of being young so clearly. The simultaneous joy and terror of it. The rawness of it before you learn to get a little more numb.

“Supercut” is the standout for me albeit it seems picky to zero in on one song on an album that works, fundamentally, as an album. It hangs together as a whole (which may, sadly, partially explain its relative lack of commercial success compared to its predecessor “Pure Heroine”). “Supercut” is glorious. To be honest if all it had going for it was the line we were wild and fluorescent come home to my heart then I’d be there. That is beautiful and perfect. The rest of the song, a reflection on lost love and the edited highlights of it that are all that remain in memory, ain’t too shabby either.

This wasn’t, I don’t think, what I’d envisaged for this post. But there’s something in that opening analogy about expressing love. If I needed a reminder that music is the thing, for me, that rips right through the rational part of me, the cynical part of me, and cuts to the core – the inner kid that heard the heartbreak in “Winner Takes It All” and fell in love with sad songs – then Lorde’s record does that. I can rationalise and explain all sorts of reasons why I love it but, ultimately, it just connects with me and does what music’s supposed to do: makes you feel alive.

Elsewhere, as alluded above, I also got cut open by the Phoebe Bridger’s record (especially “Motion Sickness” and the absolutely gorgeous “Scott Street”) and a range of records from the past. I spent a lot of time in the company of Stevie Nicks (who inspired her own spin off range of short stories – here) and Fleetwood Mac and I was bowled over by The Beatles, maybe twenty years after I should have been. But I guess that’s the flip side benefit of losing cultural touchpoints defined by everyone hearing things together (does that even really happen now?) – everyone now has access to everything so the past is laid out like a new country to be discovered.

2016 was the tidal wave. I lost my mum and it was like nothing I’d ever known. 2017 has been the undertow. I’ve been back on my feet but get pulled over and sucked back. I think I’m learning that grief works like that. I think it probably always will. I’ve always leant on music as my emotional crutch and the Lorde record was the one I leant on most this year.