Cover Art by Michael Best
In typical Phoebe Bridgers fashion, the beloved artist spent her Halloweekend playing three sold-out nights in Los Angeles. For “Phoebeween,” the Intuit Dome transformed into a festive abyss of pre-show performances, dancing ghost statues, and fans dressed in their finest costumes.
After a six-year solo hiatus, Bridgers’ highly anticipated third studio album, Lost Weekend, finally graced the world on August 14. Following the immense praise for her first two studio albums, Stranger in the Alps and Punisher, fans seethed with excitement for her next project — and they weren’t disappointed. The sixteen-track record perfectly encompasses complex themes of love, grief, and isolation. Leading up to the album’s release, Bridgers played a series of secret shows across cities known for their extraterrestrial history. With fliers posted the day of each show, fans were in a frenzy and eager to find out what the “Motion Sickness” singer had in store next.
However, there was a catch — absolutely no phones allowed. While this foreign rule received backlash across the internet, many viewed this as an inspiring opportunity to enjoy live music without smart screens in their faces. On the Lost Tour, that approach proved to be a success.
During her Friday show at the Intuit Dome, Bridgers opened up to the crowd, expressing how this no-phone experience was incomparably personal. She confessed that the phone-free environment allowed her to speak candidly to the crowd without worrying about being clipped for a viral moment online. Without the presence of technological devices, the Lost Tour created an intimate space for Bridgers to connect deeply with the crowd and deliver a magical show.
While it initially felt abnormal to not have my phone on me to keep track of time, this uneasy feeling vanished once the lights dimmed, and a giant lighting configuration began to lower from the ceiling. The orb emitted green rays across the arena, and a dome on the main stage began to glow and expel fog. As the album’s eerie opening track “The Outside” made its way throughout the sound system, heads turned back and forth, trying to figure out where Bridgers would appear from.
Suddenly, the dome opened like a seashell, revealing Bridgers dressed as Peter Pan, and her band robed in costumes of the character’s friends and foes. As she strummed the all-too-familiar opening chord of “Motion Sickness,” the crowd went wild.
Just like others in the audience, Bridgers’ music played a prominent role in my high school experience. Now in my final year of college, it felt surreal to finally lay my eyes on the artist who had soundtracked some of the most formative years of my life.
Slowing things down, Bridgers descended into an emotional rendition of “Kill Me,” off of her latest album. During moments like these, it’s typical for a crowd to be swallowed by a sea of phones attempting to capture such a stunning performance. However, without their devices on hand, the intimacy was potent and Bridgers’ evocative cadence had the audience’s full attention.
“Costume party
When the veil was thinning
He kissed me hello
He tastes like a flower with chemical petals”
During the song’s bridge, the dome fully opened up to the crowd, exposing a halo-like rim of lights as Cameron Winter’s haunting vocals on the track echoed through the venue.
Vibrant red and blue lights illuminated the stage as “DVD Menu” introduced the next couple of songs from Bridgers’ sophomore album, Punisher. As the picking pattern of “Garden Song” began to play, the crowd cheered in recognition and Bridgers sweetly sang the first verse.
“Someday, I'm gonna live
In your house up on the hill
And when your skinhead neighbor goes missing
I'll plant a garden in the yard”
As the nostalgic tune hummed throughout the arena, I felt transported back to 2020 when I would spend hours replaying this song over and over again in my room. Experiencing it live was truly transcendent, allowing me to look back on a time I had once abhorred with a new, reminiscent light.
As the song came to a halt, the dome transformed into the moon and a close-up of Bridgers’ face, lined with sparkly tears, was projected behind the stage. A wave of melancholy swept the crowd, as fans eagerly awaited the heart-wrenching lyrics they knew would follow.
“Stuck your tongue down the throat of somebody
Who loves you more
So I will wait for the next time you want me
Like a dog with a bird at your door”
Leading up to the show, I had seen people online attempt to recreate what previous shows had been like, but ultimately nothing came close to what I experienced live. Not only were Bridgers’ vocals identical — if not better — than the studio recordings, but the stage work was unlike anything I had seen before. At one point in the show, during an evocative performance of “Still Standing,” a teal tractor beam wrapped around Bridgers, as if she were being abducted by aliens. When met with fog, the light created a majestic, rippling effect, like water flowing upstream. Without a phone in sight, people waved their lighters and stared in wonder at the magical performance before them.
With a beaming smile, Bridgers teased the crowd with a surprise guest, and pop band MUNA came out dressed as pirates to perform “Silk Chiffon.” The crowd erupted as lead singer Katie Gavin — who was in Captain Hook attire — danced around the stage with Bridgers. The venue radiated pure joy, as everyone sang their hearts out.
As if things couldn’t get any better, Bridgers let the crowd choose between two fan-favorite songs to play next: “Georgia” or “Waiting Room.” While both received quite the reaction, the latter ultimately won, a song fans cherish so dearly because of its reflection of unrequited love and extreme longing — it’s the kind of song that could only be written by a teenage girl.
“Wanna make you fall in love as hard as my poor parents' teenage daughter
She'll be the best you ever had if you let her”
Bridgers introduced “Savior Complex” as the next surprise song — a segment that had audiences on their toes throughout the tour. As the crowd cooed in awe, Bridgers sang the delicate lyrics in her angelic voice. All of a sudden, a mysterious figure emerged at the front of the stage: none other than Billie Eilish. The entire venue roared as Eilish joined Bridgers, singing the second verse of the sorrowful song. Following the performance, Bridgers playfully teased the crowd about not having their phones to capture the moment.
To close out the night on a high note, Bridgers played “I Know The End.” While the track starts off slow and gentle, it abruptly transforms into an intense medley of instruments. As if on cue, the crowd joined in during the song’s climactic cacophony of screams. The arena was showered in crimson light, making the chaotic moment briefly indistinguishable from a murder scene. While I have listened to this song hundreds of times of my own accord, engaging in this grand finale live was one of the most cathartic experiences I’ve had at a concert.
Little did I know, things weren’t over yet; Bridgers returned to the B-stage for an encore of “Scott Street.” Halfway through the song, the lights turned on, allowing me to see every single individual in the arena swaying and singing along. The unforgettable intimacy of 18,000 people living in the moment together was indescribable, but perhaps even more so, it was unphotographable, like a UFO sighting, something you simply have to see to believe.
Experience the magic of Lost Weekend below!
