After 'Scott Street' concludes quietly on the John Peel Stage,
Phoebe Bridgers reveals to the audience, "This is my first time here, and it honestly seems odd, but I'm having a terrible day." The US Supreme Court formally overturns the historic abortion judgement Roe v. Wade hours before the Los Angeles singer-songwriter begins her first act at Glastonbury.
She shouts, "Fuck the Supreme Court," before rallying the mob in yelling the same phrase, swiftly describing the justices as "irrelevant old guys." Abortion rights is a topic that she has often addressed, and the fact that she picks this occasion to bring it up again demonstrates why, outside of her music, she has become such an influential voice in contemporary indie.
Bridgers may have been a cult indie figure before the epidemic and the publication of her second album 'Punisher' in 2020, but it was that album that launched her to the level of one of the most adored artists in the alternative world, eliciting fanatical devotion. This concert to a crowded John Peel tent seems like a victory lap for this phase of her career, a chance to relish in its brilliance with people who propelled it to the stratosphere after many lockdowns.
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During her performance, the screen behind her is animated to depict a pop-up picture book whose pages change with each song. At times, it depicts a spacecraft hovering above a city ('Chinese Satellite'), while at other times, it depicts the magnificent Griffith Observatory in the musician's birthplace ('Moon Song'). It gives a mystical feel to the production, amplifying Bridgers' poignant lyrics and underlining the story-telling aspect that has resonated with so many people across the globe.
From the euphoric reception to 'Kyoto' to the thunderous applause that follows the powerful 'ICU,' the response to each song in the performance becomes more robust and louder. Even with a microphone and a big PA system, you can't hear a word she attempts to say as the chaos continues; she realises this with astonishment and laughing. When it eventually subsides, she demonstrates her humorous side with a brief exchange with her drummer before dedicating her recent Conversation With Friends soundtrack contribution, "Sidelines," to her lover, Normal People actor Paul Mescal.
Bridgers takes a bow with the assistance of her friend Arlo Parks, bringing the British singer-songwriter on stage for a tender version of "Graceland Too." Bridgers exclaims, "This is so fantastic, so strange," but her grin rapidly fades as she reminds the audience of the larger problems occurring outside of our ideal Glastonbury bubble. She concludes, "It's not the worst day in American history, but it's up there." There are several excellent abortion charities, such as Mariposa Fund, for those who feel hopeless.
The burning of a castle is shown in the illustration that accompanies her last song, appropriately titled "The End." It sometimes seems like a depiction of our society — dystopian, terrible, and almost unsalvageable — yet Bridgers' performance serves as a much-needed outlet for fury and despair, as well as a celebration of an influential, crucial artist.
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