\u201cLost Parade\u201d\u00a0<\/h2>\n\n\n\tAt only 56 seconds,\u00a0this\u00a0interstitial track takes what sounds like a live recording of a marching band riffing on the\u00a0\u201cLiberty\u00a0Tree\u201d\u00a0melody\u00a0and slowly turns up the volume so you can hear a crowd cheering before it fades out.\u00a0The\u00a0track\u2019s\u00a0credit list\u00a0includes\u00a0storied producer\u00a0Jon\u00a0Brion on electric guitar and Nate Walcott on trumpet, so perhaps this is just studio session magic, but the live effect is still fun.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cPanorama\u201d\u00a0<\/h2>\n\n\n\tThe inverse of \u201cLost Weekend,\u201d \u201cPanorama\u201d starts\u00a0experimental\u00a0before arriving\u00a0at Bridgers\u2019 lyrics,\u00a0comprising\u00a0one\u00a0verse that reads like a poetry stanza. Banjo and mandolin combine with synthesizers and guitars to create a mellow vibe that buzzes and grows moodier as the song progresses. \u201cA panorama hotel room\/ I chose this number for the view,\u201d she sings, setting a brief scene for the album\u2019s halfway point. This would\u00a0definitely work in a planetarium.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cNever Going Back!\u201d\u00a0<\/h2>\n\n\n\tThis under-two-minute track starts with Bridgers singing a cappella, running through the mantra of \u201cNever going back again\/ The way it used to be is not the way that it is.\u201d The song has a forceful, driving rhythm, led by guitars and drums, that aligns with its message of forward momentum, while a closing voicemail from her dad signifies a connection to the past without letting it put a stranglehold on the future.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cOther Plans\u201d\u00a0<\/h2>\n\n\n\tCompared to the other\u00a0Lost Weekend\u00a0songs, \u201cOther Plans\u201d has a lean credit list \u2014 only Bridgers, Antonoff\u00a0and\u00a0Gruska \u2014 and a musical simplicity to match, with Bridgers playing piano and Gruska on synths,\u00a0adding atmosphere; lyrically, it\u2019s both vividly specific\u00a0(\u201cI got blood on my favorite shirt\/ You were shaking like a final girl\u201d)\u00a0and\u00a0vague (\u201cOur love had other plans for us\u201d).<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cKill Me\u201d\u00a0<\/h2>\n\n\n\tOne of the songs Bridgers performed at her Madison Square Garden show in June, \u201cKill Me\u201d starts quietly with an acoustic guitar playing in an unsettling, hazy atmosphere. \u201cTimes are scary,\u201d Bridgers sings uneasily,\u00a0before\u00a0a chorus of \u201cThis is\u00a0gonna\u00a0kill me\/ Wait\u201d sustains\u00a0the tone. Though\u00a0it\u2019s\u00a0a somber song, the heavy breakdown that closes it out is a fun,\u00a0slo-mo\u00a0headbanger. This also marks her first reference to \u201cBobby,\u201d\u00a0presumably Burnham, whose birth name is Robert\u00a0(\u201cBobby, you taught me that I know nothing\u201d). And\u00a0that voice you hear\u00a0at\u00a0the end, singing \u201ctamam\u00a0shud<\/em>\u201d (Persian for \u201cit is finished\u201d and popularized by\u00a0a mysterious 1940s murder)?\u00a0It\u2019s\u00a0credited\u00a0to\u00a0Son-John Johnson \u2014 though it sure does sound a lot like Cameron Winter.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cThe Outside\u201d\u00a0<\/h2>\n\n\n\tOn the\u00a0album opener, Bridgers filters her voice through a vocoder on the verses (\u201cCrying in a suit and tie\/ But you should see the other guy\u201d) and sheds the effect on the chorus (\u201cWhen I am on the outside, watching\/ I am on the outside, watching\u201d). The\u00a0verses\u00a0\u00a0\u2014\u00a0one\u00a0of a fist punching through drywall, the other with a fist enthusiastically pumping in the air\u00a0\u2014 play off each other, as the intimate, keyboard-driven track tees up the emotional and sonic oscillations\u00a0of the album, but it\u2019s a gorgeous song in its own right, too.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Weekend (Reprise)\u201d\u00a0<\/h2>\n\n\n\tA\u00a0final moving tribute to her father closes the album. Bridgers is specifically credited as playing the \u201cchurch organ,\u201d whose sustained notes give the song a dirge-like quality, though her voice floats above it, revisiting the \u201cLost Weekend\u201d melody. \u201cHe\u2019s not coming back as a bird,\u201d she sings, accepting his absence while still acknowledging his presence in the lessons she\u00a0retained.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLiberty Tree\u201d\u00a0<\/h2>\n\n\n\tBurnham grew up in Hamilton, Mass., which is only about 15 minutes from the Liberty Tree Mall, the scene for this up-tempo track that finds Bridgers and Burnham capturing a moment in a photo booth. \u201cYou were made in the image of god\/ But you look like your mom\/ In this picture of us\/ Falling in love that night\/ After our fight,\u201d she recalls, detailing their early days.\u00a0It\u2019s\u00a0a slice-of-life that Bridgers ends on a darkly sentimental note: \u201cDon\u2019t die, Bobby\/ Before I die\/ It feels so good to have you in my life.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Weekend\u201d\u00a0<\/h2>\n\n\n\tThe first couple minutes of this song (which credits\u00a0Damien Jurado\u2019s \u201cThe Last Great Washington State,\u201d\u00a0perhaps for the melody) play like classic Bridgers \u2014 detailed memories, closely\u00a0mic\u2019d\u00a0vocals supported only by sustained notes, admissions of love and rupture (\u201cI\u2019m supposed to be married, but I called it off,\u201d likely another Mescal reference) \u2014 while the last minute explodes. Glitchy snippets interrupt swooping strings, and nonsensical vocal chatter \u2014 sampled from\u00a0\u201cNotjustmoreidlechatter\u201d\u00a0by composer Paul Lansky \u2014\u00a0rushes\u00a0by.\u00a0It\u2019s\u00a0a fitting title track that marries Bridgers\u2019 old and new styles as she pushes her music into uncharted territory.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cThe Governor\u2019s Waltz\u201d\u00a0<\/h2>\n\n\n\tDon\u2019t\u00a0let the sing-song\u00a0music-box\u00a0melody (and, naturally, waltzing rhythm) fool you: Bridgers is taking shots on this one. \u201cI was the belle of the Governor\u2019s Ball,\u201d she sings,\u00a0a\u00a0role\u00a0it\u2019s\u00a0fair to say she\u00a0played in 2021\u00a0when she was\u00a0on red carpets with\u00a0Mescal.\u00a0Fans have speculated\u00a0that one lyric is a thinly-veiled dig at\u00a0Mescal\u2019s current girlfriend\u00a0(and avowed Bridgers fan) Gracie Abrams,\u00a0but the real dagger comes from the way she details a relationship on the fritz: \u201cSo, let\u2019s see how long we can go without talking\/ Watch me pretending to sleep\/ I\u2019m next to you, you\u2019re next to nothing\/ You promised that you\u2019d never leave\/ But maybe you\u2019ll do it for me.\u201d\u00a0Caroline\u00a0Shaw\u2019s\u00a0soaring background vocals\u00a0give the song a ghostly quality\u00a0\u2014 fitting\u00a0for what feels like an oddly pleasant musical\u00a0exorcism of a failed relationship.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cHaunted\u201d\u00a0<\/h2>\n\n\n\tNickel Creek virtuoso\u00a0Chris Thile appears with his mandolin on half a dozen\u00a0Lost Weekend<\/em>\u00a0songs\u00a0and brings his full band along for the ride twice, including here. The group is a fitting addition on \u201cHaunted,\u201d where Bridgers, harmonizing with\u00a0her\u00a0boygenius-mates\u00a0Dacus and Baker, leans into\u00a0upbeat,\u00a0folksy Americana as she finds the benefits of going through it and living to tell the tale: \u201cYou won\u2019t have to open a heart that\u2019s broken,\u201d she sings. \u201cWater\u2019s\u00a0gonna\u00a0flow in either way\/ My heart is growing either way.\u201d\u00a0It\u2019s\u00a0an empowering moment for Bridgers, as she pushes her writing\u00a0beyond reflections on the past and looks toward the horizon.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cStill Standing\u201d\u00a0<\/h2>\n\n\n\tBridgers focuses on her complicated relationship with her father, recognizing\u00a0the struggles he faced (\u201cJust to be thrown in the street when you dressed like a girl\u201d) without excusing his behavior (\u201cYou tried to make me afraid\u201d) or forgetting the scenes of physical violence she recalls from childhood (\u201cI found her bleeding over the sink\/ But when you said sorry, you were looking at me\u201d). The low hum of a synthesizer\u00a0starts the song, but acoustic guitars,\u00a0mandolin\u00a0and some light pedal steel join in to uplift\u00a0the heavy mood, with Bridgers ending on a\u00a0forgiving\u00a0note:\u00a0\u201cThank you for everything.\u201d Shaw, mixed with Bridgers and\u00a0perhaps also\u00a0Maria Taylor, who is credited, returns for another haunting vocal set that sends this devastating song off into the air like a paper lantern.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cAs Above\u201d\u00a0<\/h2>\n\n\n\tBridgers sounds agitated on\u00a0Lost Weekend<\/em>\u2019s hazy penultimate song, singing, \u201cTrying not to look down\/ Making faces at a kid on the plane\/ Trying not to freak out about being a couple days late.\u201d\u00a0Regret creeps in, as she confesses to a fear of dying \u201cbefore I take you to Coney Island\/ screaming on the Wonder Wheel.\u201d The song reaches its climax as a low rumbling sound builds and Bridgers forcefully declares, \u201cYou won\u2019t have to believe in magic\/ Leave it to me, and I\u2019ll make it happen.\u201d The proclamation sounds a little unhinged, like Bridgers is buckling under the weight of making someone\u2019s dreams come true, but the song\u2019s\u00a0initial\u00a0quiet returns for the closing, \u201cAs above so below\/ As it was, so it goes.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cBobby\u201d\u00a0<\/h2>\n\n\n\t\u201cThe Governor\u2019s Waltz\u201d\u00a0leads straight into a proper love song\u00a0\u2014\u00a0on which Burnham\u00a0himself\u00a0is listed among the vocalists\u00a0\u2014\u00a0but in her\u00a0own\u00a0disquieting\u00a0style: with distant screaming, thundering drums and promises that she\u2019d kill her friends if her new love wasn\u2019t feeling them. The word\u00a0\u201clove\u201d\u00a0isn\u2019t said, but\u00a0everywhere, not only in the admission that her partner is \u201cwalking around with my heart on your sleeve\u201d but also in the personal details learned from\u00a0cohabitation (\u201cYou sing in the shower\/ I talk to myself\u201d). \u201cNow I don\u2019t know if I can make it tonight\/ But what are you doing the rest of my life, Bobby,\u201d Bridgers coos, ending the song on a breathless note.\u00a0\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Boys\u201d\u00a0<\/h2>\n\n\n\tBridgers\u00a0excels at slow\u00a0songs with lyrics that will either bring death by a thousand cuts or take\u00a0a listener out\u00a0with\u00a0one big wallop, but some of her best work happens when she speeds things up, as she\u00a0has done\u00a0with\u00a0\u201cMotion Sickness,\u201d \u201cKyoto\u201d and now \u201cLost Boys.\u201d The album single is playful, ever-so-detailed (\u201cThat one time in East Berlin\/ When you threw a tantrum with a 57\/ And broke a rib\u201d) and\u00a0a totally unforgettable earworm, thanks to a\u00a0trumpeting (both literally and figuratively)\u00a0chorus about\u00a0juvenile behaviors\u00a0no one ever\u00a0totally outgrows.\u00a0This\u00a0one\u00a0should be on her setlist forever.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cI\u00a0Can\u2019t\u00a0Wait\u201d\u00a0<\/h2>\n\n\n\tEverything\u00a0\u2014 the varying musical styles, the\u00a0past and the present, the uncertainty\u00a0and self-assurance \u2014\u00a0comes\u00a0together on \u201cI Can\u2019t Wait,\u201d\u00a0the third-to-last song on\u00a0Lost Weekend.\u00a0<\/em>The electronic static\u00a0and ambient voices\u00a0she\u2019s\u00a0played with the entire album\u00a0mingle with a\u00a0straightforward, repetitive\u00a0guitar,\u00a0the two styles finally overlapping in\u00a0a clear way.\u00a0She imagines being abandoned by her partner (\u201cBaby, baby if you leave me\/ Can you take me with you\/ I can sit in the back seat\u201d), but she also sees a life together (\u201cUntil we\u2019re dead or die trying\u201d).\u00a0It\u2019s\u00a0a very present song,\u00a0and Bridgers sounds\u00a0like someone both at the end and the beginning of her journey.\u00a0\u00a0<\/p>\n\n\tThere\u2019s\u00a0a very Antonoff-ian\u00a0moment where a dance beat kicks in, lightening, and that probably-Cameron-Winter voice\u00a0returns to\u00a0duet with her as\u00a0she\u00a0sings, \u201cAll my life\/ Side by side\/ Hyde Jekyll Hyde\/ Finally together,\u201d\u00a0while an acoustic guitar\u00a0plays\u00a0and\u00a0a harmonica, credited to Conor Oberst,\u00a0joins in.\u00a0The song\u00a0steadily\u00a0crescendos before stopping\u00a0abruptly, a\u00a0definitive\u00a0ending\u00a0that befits the\u00a0confident\u00a0track, one of her best.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/phoebe-bridgers-new-album-lost-weekend-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/08\/phoebe-bridgers-Olof-Grind-billboard-1800.jpg?w=1024″] Phoebe Bridgers\u2018\u00a0last album,\u00a0Punisher, arrived\u00a0in June 2020, in the early, uncertain days of COVID-19.\u00a0Though it was written prior to the pandemic, the\u00a0album\u00a0became a perfect\u00a0lockdown\u00a0summer soundtrack:\u00a0Sardonic,\u00a0reflective\u00a0and\u00a0restless,\u00a0it unintentionally captured the mood\u00a0of the time,\u00a0particularly with\u00a0a scream into the void on closer\u00a0\u201cI Know the End.\u201d\u00a0 Bridgers\u00a0couldn\u2019t\u00a0tour\u00a0Punisher\u00a0upon its release,\u00a0so instead she hosted a\u00a0handful\u00a0of livestreams from her apartment for […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2092738","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2092738"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2092738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2092738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2092738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tAt only 56 seconds,\u00a0this\u00a0interstitial track takes what sounds like a live recording of a marching band riffing on the\u00a0\u201cLiberty\u00a0Tree\u201d\u00a0melody\u00a0and slowly turns up the volume so you can hear a crowd cheering before it fades out.\u00a0The\u00a0track\u2019s\u00a0credit list\u00a0includes\u00a0storied producer\u00a0Jon\u00a0Brion on electric guitar and Nate Walcott on trumpet, so perhaps this is just studio session magic, but the live effect is still fun.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cPanorama\u201d\u00a0<\/h2>\n\n\n\tThe inverse of \u201cLost Weekend,\u201d \u201cPanorama\u201d starts\u00a0experimental\u00a0before arriving\u00a0at Bridgers\u2019 lyrics,\u00a0comprising\u00a0one\u00a0verse that reads like a poetry stanza. Banjo and mandolin combine with synthesizers and guitars to create a mellow vibe that buzzes and grows moodier as the song progresses. \u201cA panorama hotel room\/ I chose this number for the view,\u201d she sings, setting a brief scene for the album\u2019s halfway point. This would\u00a0definitely work in a planetarium.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cNever Going Back!\u201d\u00a0<\/h2>\n\n\n\tThis under-two-minute track starts with Bridgers singing a cappella, running through the mantra of \u201cNever going back again\/ The way it used to be is not the way that it is.\u201d The song has a forceful, driving rhythm, led by guitars and drums, that aligns with its message of forward momentum, while a closing voicemail from her dad signifies a connection to the past without letting it put a stranglehold on the future.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cOther Plans\u201d\u00a0<\/h2>\n\n\n\tCompared to the other\u00a0Lost Weekend\u00a0songs, \u201cOther Plans\u201d has a lean credit list \u2014 only Bridgers, Antonoff\u00a0and\u00a0Gruska \u2014 and a musical simplicity to match, with Bridgers playing piano and Gruska on synths,\u00a0adding atmosphere; lyrically, it\u2019s both vividly specific\u00a0(\u201cI got blood on my favorite shirt\/ You were shaking like a final girl\u201d)\u00a0and\u00a0vague (\u201cOur love had other plans for us\u201d).<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cKill Me\u201d\u00a0<\/h2>\n\n\n\tOne of the songs Bridgers performed at her Madison Square Garden show in June, \u201cKill Me\u201d starts quietly with an acoustic guitar playing in an unsettling, hazy atmosphere. \u201cTimes are scary,\u201d Bridgers sings uneasily,\u00a0before\u00a0a chorus of \u201cThis is\u00a0gonna\u00a0kill me\/ Wait\u201d sustains\u00a0the tone. Though\u00a0it\u2019s\u00a0a somber song, the heavy breakdown that closes it out is a fun,\u00a0slo-mo\u00a0headbanger. This also marks her first reference to \u201cBobby,\u201d\u00a0presumably Burnham, whose birth name is Robert\u00a0(\u201cBobby, you taught me that I know nothing\u201d). And\u00a0that voice you hear\u00a0at\u00a0the end, singing \u201ctamam\u00a0shud<\/em>\u201d (Persian for \u201cit is finished\u201d and popularized by\u00a0a mysterious 1940s murder)?\u00a0It\u2019s\u00a0credited\u00a0to\u00a0Son-John Johnson \u2014 though it sure does sound a lot like Cameron Winter.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cThe Outside\u201d\u00a0<\/h2>\n\n\n\tOn the\u00a0album opener, Bridgers filters her voice through a vocoder on the verses (\u201cCrying in a suit and tie\/ But you should see the other guy\u201d) and sheds the effect on the chorus (\u201cWhen I am on the outside, watching\/ I am on the outside, watching\u201d). The\u00a0verses\u00a0\u00a0\u2014\u00a0one\u00a0of a fist punching through drywall, the other with a fist enthusiastically pumping in the air\u00a0\u2014 play off each other, as the intimate, keyboard-driven track tees up the emotional and sonic oscillations\u00a0of the album, but it\u2019s a gorgeous song in its own right, too.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Weekend (Reprise)\u201d\u00a0<\/h2>\n\n\n\tA\u00a0final moving tribute to her father closes the album. Bridgers is specifically credited as playing the \u201cchurch organ,\u201d whose sustained notes give the song a dirge-like quality, though her voice floats above it, revisiting the \u201cLost Weekend\u201d melody. \u201cHe\u2019s not coming back as a bird,\u201d she sings, accepting his absence while still acknowledging his presence in the lessons she\u00a0retained.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLiberty Tree\u201d\u00a0<\/h2>\n\n\n\tBurnham grew up in Hamilton, Mass., which is only about 15 minutes from the Liberty Tree Mall, the scene for this up-tempo track that finds Bridgers and Burnham capturing a moment in a photo booth. \u201cYou were made in the image of god\/ But you look like your mom\/ In this picture of us\/ Falling in love that night\/ After our fight,\u201d she recalls, detailing their early days.\u00a0It\u2019s\u00a0a slice-of-life that Bridgers ends on a darkly sentimental note: \u201cDon\u2019t die, Bobby\/ Before I die\/ It feels so good to have you in my life.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Weekend\u201d\u00a0<\/h2>\n\n\n\tThe first couple minutes of this song (which credits\u00a0Damien Jurado\u2019s \u201cThe Last Great Washington State,\u201d\u00a0perhaps for the melody) play like classic Bridgers \u2014 detailed memories, closely\u00a0mic\u2019d\u00a0vocals supported only by sustained notes, admissions of love and rupture (\u201cI\u2019m supposed to be married, but I called it off,\u201d likely another Mescal reference) \u2014 while the last minute explodes. Glitchy snippets interrupt swooping strings, and nonsensical vocal chatter \u2014 sampled from\u00a0\u201cNotjustmoreidlechatter\u201d\u00a0by composer Paul Lansky \u2014\u00a0rushes\u00a0by.\u00a0It\u2019s\u00a0a fitting title track that marries Bridgers\u2019 old and new styles as she pushes her music into uncharted territory.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cThe Governor\u2019s Waltz\u201d\u00a0<\/h2>\n\n\n\tDon\u2019t\u00a0let the sing-song\u00a0music-box\u00a0melody (and, naturally, waltzing rhythm) fool you: Bridgers is taking shots on this one. \u201cI was the belle of the Governor\u2019s Ball,\u201d she sings,\u00a0a\u00a0role\u00a0it\u2019s\u00a0fair to say she\u00a0played in 2021\u00a0when she was\u00a0on red carpets with\u00a0Mescal.\u00a0Fans have speculated\u00a0that one lyric is a thinly-veiled dig at\u00a0Mescal\u2019s current girlfriend\u00a0(and avowed Bridgers fan) Gracie Abrams,\u00a0but the real dagger comes from the way she details a relationship on the fritz: \u201cSo, let\u2019s see how long we can go without talking\/ Watch me pretending to sleep\/ I\u2019m next to you, you\u2019re next to nothing\/ You promised that you\u2019d never leave\/ But maybe you\u2019ll do it for me.\u201d\u00a0Caroline\u00a0Shaw\u2019s\u00a0soaring background vocals\u00a0give the song a ghostly quality\u00a0\u2014 fitting\u00a0for what feels like an oddly pleasant musical\u00a0exorcism of a failed relationship.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cHaunted\u201d\u00a0<\/h2>\n\n\n\tNickel Creek virtuoso\u00a0Chris Thile appears with his mandolin on half a dozen\u00a0Lost Weekend<\/em>\u00a0songs\u00a0and brings his full band along for the ride twice, including here. The group is a fitting addition on \u201cHaunted,\u201d where Bridgers, harmonizing with\u00a0her\u00a0boygenius-mates\u00a0Dacus and Baker, leans into\u00a0upbeat,\u00a0folksy Americana as she finds the benefits of going through it and living to tell the tale: \u201cYou won\u2019t have to open a heart that\u2019s broken,\u201d she sings. \u201cWater\u2019s\u00a0gonna\u00a0flow in either way\/ My heart is growing either way.\u201d\u00a0It\u2019s\u00a0an empowering moment for Bridgers, as she pushes her writing\u00a0beyond reflections on the past and looks toward the horizon.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cStill Standing\u201d\u00a0<\/h2>\n\n\n\tBridgers focuses on her complicated relationship with her father, recognizing\u00a0the struggles he faced (\u201cJust to be thrown in the street when you dressed like a girl\u201d) without excusing his behavior (\u201cYou tried to make me afraid\u201d) or forgetting the scenes of physical violence she recalls from childhood (\u201cI found her bleeding over the sink\/ But when you said sorry, you were looking at me\u201d). The low hum of a synthesizer\u00a0starts the song, but acoustic guitars,\u00a0mandolin\u00a0and some light pedal steel join in to uplift\u00a0the heavy mood, with Bridgers ending on a\u00a0forgiving\u00a0note:\u00a0\u201cThank you for everything.\u201d Shaw, mixed with Bridgers and\u00a0perhaps also\u00a0Maria Taylor, who is credited, returns for another haunting vocal set that sends this devastating song off into the air like a paper lantern.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cAs Above\u201d\u00a0<\/h2>\n\n\n\tBridgers sounds agitated on\u00a0Lost Weekend<\/em>\u2019s hazy penultimate song, singing, \u201cTrying not to look down\/ Making faces at a kid on the plane\/ Trying not to freak out about being a couple days late.\u201d\u00a0Regret creeps in, as she confesses to a fear of dying \u201cbefore I take you to Coney Island\/ screaming on the Wonder Wheel.\u201d The song reaches its climax as a low rumbling sound builds and Bridgers forcefully declares, \u201cYou won\u2019t have to believe in magic\/ Leave it to me, and I\u2019ll make it happen.\u201d The proclamation sounds a little unhinged, like Bridgers is buckling under the weight of making someone\u2019s dreams come true, but the song\u2019s\u00a0initial\u00a0quiet returns for the closing, \u201cAs above so below\/ As it was, so it goes.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cBobby\u201d\u00a0<\/h2>\n\n\n\t\u201cThe Governor\u2019s Waltz\u201d\u00a0leads straight into a proper love song\u00a0\u2014\u00a0on which Burnham\u00a0himself\u00a0is listed among the vocalists\u00a0\u2014\u00a0but in her\u00a0own\u00a0disquieting\u00a0style: with distant screaming, thundering drums and promises that she\u2019d kill her friends if her new love wasn\u2019t feeling them. The word\u00a0\u201clove\u201d\u00a0isn\u2019t said, but\u00a0everywhere, not only in the admission that her partner is \u201cwalking around with my heart on your sleeve\u201d but also in the personal details learned from\u00a0cohabitation (\u201cYou sing in the shower\/ I talk to myself\u201d). \u201cNow I don\u2019t know if I can make it tonight\/ But what are you doing the rest of my life, Bobby,\u201d Bridgers coos, ending the song on a breathless note.\u00a0\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Boys\u201d\u00a0<\/h2>\n\n\n\tBridgers\u00a0excels at slow\u00a0songs with lyrics that will either bring death by a thousand cuts or take\u00a0a listener out\u00a0with\u00a0one big wallop, but some of her best work happens when she speeds things up, as she\u00a0has done\u00a0with\u00a0\u201cMotion Sickness,\u201d \u201cKyoto\u201d and now \u201cLost Boys.\u201d The album single is playful, ever-so-detailed (\u201cThat one time in East Berlin\/ When you threw a tantrum with a 57\/ And broke a rib\u201d) and\u00a0a totally unforgettable earworm, thanks to a\u00a0trumpeting (both literally and figuratively)\u00a0chorus about\u00a0juvenile behaviors\u00a0no one ever\u00a0totally outgrows.\u00a0This\u00a0one\u00a0should be on her setlist forever.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cI\u00a0Can\u2019t\u00a0Wait\u201d\u00a0<\/h2>\n\n\n\tEverything\u00a0\u2014 the varying musical styles, the\u00a0past and the present, the uncertainty\u00a0and self-assurance \u2014\u00a0comes\u00a0together on \u201cI Can\u2019t Wait,\u201d\u00a0the third-to-last song on\u00a0Lost Weekend.\u00a0<\/em>The electronic static\u00a0and ambient voices\u00a0she\u2019s\u00a0played with the entire album\u00a0mingle with a\u00a0straightforward, repetitive\u00a0guitar,\u00a0the two styles finally overlapping in\u00a0a clear way.\u00a0She imagines being abandoned by her partner (\u201cBaby, baby if you leave me\/ Can you take me with you\/ I can sit in the back seat\u201d), but she also sees a life together (\u201cUntil we\u2019re dead or die trying\u201d).\u00a0It\u2019s\u00a0a very present song,\u00a0and Bridgers sounds\u00a0like someone both at the end and the beginning of her journey.\u00a0\u00a0<\/p>\n\n\tThere\u2019s\u00a0a very Antonoff-ian\u00a0moment where a dance beat kicks in, lightening, and that probably-Cameron-Winter voice\u00a0returns to\u00a0duet with her as\u00a0she\u00a0sings, \u201cAll my life\/ Side by side\/ Hyde Jekyll Hyde\/ Finally together,\u201d\u00a0while an acoustic guitar\u00a0plays\u00a0and\u00a0a harmonica, credited to Conor Oberst,\u00a0joins in.\u00a0The song\u00a0steadily\u00a0crescendos before stopping\u00a0abruptly, a\u00a0definitive\u00a0ending\u00a0that befits the\u00a0confident\u00a0track, one of her best.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/phoebe-bridgers-new-album-lost-weekend-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/08\/phoebe-bridgers-Olof-Grind-billboard-1800.jpg?w=1024″] Phoebe Bridgers\u2018\u00a0last album,\u00a0Punisher, arrived\u00a0in June 2020, in the early, uncertain days of COVID-19.\u00a0Though it was written prior to the pandemic, the\u00a0album\u00a0became a perfect\u00a0lockdown\u00a0summer soundtrack:\u00a0Sardonic,\u00a0reflective\u00a0and\u00a0restless,\u00a0it unintentionally captured the mood\u00a0of the time,\u00a0particularly with\u00a0a scream into the void on closer\u00a0\u201cI Know the End.\u201d\u00a0 Bridgers\u00a0couldn\u2019t\u00a0tour\u00a0Punisher\u00a0upon its release,\u00a0so instead she hosted a\u00a0handful\u00a0of livestreams from her apartment for […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2092738","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2092738"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2092738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2092738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2092738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tThe inverse of \u201cLost Weekend,\u201d \u201cPanorama\u201d starts\u00a0experimental\u00a0before arriving\u00a0at Bridgers\u2019 lyrics,\u00a0comprising\u00a0one\u00a0verse that reads like a poetry stanza. Banjo and mandolin combine with synthesizers and guitars to create a mellow vibe that buzzes and grows moodier as the song progresses. \u201cA panorama hotel room\/ I chose this number for the view,\u201d she sings, setting a brief scene for the album\u2019s halfway point. This would\u00a0definitely work in a planetarium.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cNever Going Back!\u201d\u00a0<\/h2>\n\n\n\tThis under-two-minute track starts with Bridgers singing a cappella, running through the mantra of \u201cNever going back again\/ The way it used to be is not the way that it is.\u201d The song has a forceful, driving rhythm, led by guitars and drums, that aligns with its message of forward momentum, while a closing voicemail from her dad signifies a connection to the past without letting it put a stranglehold on the future.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cOther Plans\u201d\u00a0<\/h2>\n\n\n\tCompared to the other\u00a0Lost Weekend\u00a0songs, \u201cOther Plans\u201d has a lean credit list \u2014 only Bridgers, Antonoff\u00a0and\u00a0Gruska \u2014 and a musical simplicity to match, with Bridgers playing piano and Gruska on synths,\u00a0adding atmosphere; lyrically, it\u2019s both vividly specific\u00a0(\u201cI got blood on my favorite shirt\/ You were shaking like a final girl\u201d)\u00a0and\u00a0vague (\u201cOur love had other plans for us\u201d).<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cKill Me\u201d\u00a0<\/h2>\n\n\n\tOne of the songs Bridgers performed at her Madison Square Garden show in June, \u201cKill Me\u201d starts quietly with an acoustic guitar playing in an unsettling, hazy atmosphere. \u201cTimes are scary,\u201d Bridgers sings uneasily,\u00a0before\u00a0a chorus of \u201cThis is\u00a0gonna\u00a0kill me\/ Wait\u201d sustains\u00a0the tone. Though\u00a0it\u2019s\u00a0a somber song, the heavy breakdown that closes it out is a fun,\u00a0slo-mo\u00a0headbanger. This also marks her first reference to \u201cBobby,\u201d\u00a0presumably Burnham, whose birth name is Robert\u00a0(\u201cBobby, you taught me that I know nothing\u201d). And\u00a0that voice you hear\u00a0at\u00a0the end, singing \u201ctamam\u00a0shud<\/em>\u201d (Persian for \u201cit is finished\u201d and popularized by\u00a0a mysterious 1940s murder)?\u00a0It\u2019s\u00a0credited\u00a0to\u00a0Son-John Johnson \u2014 though it sure does sound a lot like Cameron Winter.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cThe Outside\u201d\u00a0<\/h2>\n\n\n\tOn the\u00a0album opener, Bridgers filters her voice through a vocoder on the verses (\u201cCrying in a suit and tie\/ But you should see the other guy\u201d) and sheds the effect on the chorus (\u201cWhen I am on the outside, watching\/ I am on the outside, watching\u201d). The\u00a0verses\u00a0\u00a0\u2014\u00a0one\u00a0of a fist punching through drywall, the other with a fist enthusiastically pumping in the air\u00a0\u2014 play off each other, as the intimate, keyboard-driven track tees up the emotional and sonic oscillations\u00a0of the album, but it\u2019s a gorgeous song in its own right, too.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Weekend (Reprise)\u201d\u00a0<\/h2>\n\n\n\tA\u00a0final moving tribute to her father closes the album. Bridgers is specifically credited as playing the \u201cchurch organ,\u201d whose sustained notes give the song a dirge-like quality, though her voice floats above it, revisiting the \u201cLost Weekend\u201d melody. \u201cHe\u2019s not coming back as a bird,\u201d she sings, accepting his absence while still acknowledging his presence in the lessons she\u00a0retained.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLiberty Tree\u201d\u00a0<\/h2>\n\n\n\tBurnham grew up in Hamilton, Mass., which is only about 15 minutes from the Liberty Tree Mall, the scene for this up-tempo track that finds Bridgers and Burnham capturing a moment in a photo booth. \u201cYou were made in the image of god\/ But you look like your mom\/ In this picture of us\/ Falling in love that night\/ After our fight,\u201d she recalls, detailing their early days.\u00a0It\u2019s\u00a0a slice-of-life that Bridgers ends on a darkly sentimental note: \u201cDon\u2019t die, Bobby\/ Before I die\/ It feels so good to have you in my life.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Weekend\u201d\u00a0<\/h2>\n\n\n\tThe first couple minutes of this song (which credits\u00a0Damien Jurado\u2019s \u201cThe Last Great Washington State,\u201d\u00a0perhaps for the melody) play like classic Bridgers \u2014 detailed memories, closely\u00a0mic\u2019d\u00a0vocals supported only by sustained notes, admissions of love and rupture (\u201cI\u2019m supposed to be married, but I called it off,\u201d likely another Mescal reference) \u2014 while the last minute explodes. Glitchy snippets interrupt swooping strings, and nonsensical vocal chatter \u2014 sampled from\u00a0\u201cNotjustmoreidlechatter\u201d\u00a0by composer Paul Lansky \u2014\u00a0rushes\u00a0by.\u00a0It\u2019s\u00a0a fitting title track that marries Bridgers\u2019 old and new styles as she pushes her music into uncharted territory.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cThe Governor\u2019s Waltz\u201d\u00a0<\/h2>\n\n\n\tDon\u2019t\u00a0let the sing-song\u00a0music-box\u00a0melody (and, naturally, waltzing rhythm) fool you: Bridgers is taking shots on this one. \u201cI was the belle of the Governor\u2019s Ball,\u201d she sings,\u00a0a\u00a0role\u00a0it\u2019s\u00a0fair to say she\u00a0played in 2021\u00a0when she was\u00a0on red carpets with\u00a0Mescal.\u00a0Fans have speculated\u00a0that one lyric is a thinly-veiled dig at\u00a0Mescal\u2019s current girlfriend\u00a0(and avowed Bridgers fan) Gracie Abrams,\u00a0but the real dagger comes from the way she details a relationship on the fritz: \u201cSo, let\u2019s see how long we can go without talking\/ Watch me pretending to sleep\/ I\u2019m next to you, you\u2019re next to nothing\/ You promised that you\u2019d never leave\/ But maybe you\u2019ll do it for me.\u201d\u00a0Caroline\u00a0Shaw\u2019s\u00a0soaring background vocals\u00a0give the song a ghostly quality\u00a0\u2014 fitting\u00a0for what feels like an oddly pleasant musical\u00a0exorcism of a failed relationship.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cHaunted\u201d\u00a0<\/h2>\n\n\n\tNickel Creek virtuoso\u00a0Chris Thile appears with his mandolin on half a dozen\u00a0Lost Weekend<\/em>\u00a0songs\u00a0and brings his full band along for the ride twice, including here. The group is a fitting addition on \u201cHaunted,\u201d where Bridgers, harmonizing with\u00a0her\u00a0boygenius-mates\u00a0Dacus and Baker, leans into\u00a0upbeat,\u00a0folksy Americana as she finds the benefits of going through it and living to tell the tale: \u201cYou won\u2019t have to open a heart that\u2019s broken,\u201d she sings. \u201cWater\u2019s\u00a0gonna\u00a0flow in either way\/ My heart is growing either way.\u201d\u00a0It\u2019s\u00a0an empowering moment for Bridgers, as she pushes her writing\u00a0beyond reflections on the past and looks toward the horizon.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cStill Standing\u201d\u00a0<\/h2>\n\n\n\tBridgers focuses on her complicated relationship with her father, recognizing\u00a0the struggles he faced (\u201cJust to be thrown in the street when you dressed like a girl\u201d) without excusing his behavior (\u201cYou tried to make me afraid\u201d) or forgetting the scenes of physical violence she recalls from childhood (\u201cI found her bleeding over the sink\/ But when you said sorry, you were looking at me\u201d). The low hum of a synthesizer\u00a0starts the song, but acoustic guitars,\u00a0mandolin\u00a0and some light pedal steel join in to uplift\u00a0the heavy mood, with Bridgers ending on a\u00a0forgiving\u00a0note:\u00a0\u201cThank you for everything.\u201d Shaw, mixed with Bridgers and\u00a0perhaps also\u00a0Maria Taylor, who is credited, returns for another haunting vocal set that sends this devastating song off into the air like a paper lantern.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cAs Above\u201d\u00a0<\/h2>\n\n\n\tBridgers sounds agitated on\u00a0Lost Weekend<\/em>\u2019s hazy penultimate song, singing, \u201cTrying not to look down\/ Making faces at a kid on the plane\/ Trying not to freak out about being a couple days late.\u201d\u00a0Regret creeps in, as she confesses to a fear of dying \u201cbefore I take you to Coney Island\/ screaming on the Wonder Wheel.\u201d The song reaches its climax as a low rumbling sound builds and Bridgers forcefully declares, \u201cYou won\u2019t have to believe in magic\/ Leave it to me, and I\u2019ll make it happen.\u201d The proclamation sounds a little unhinged, like Bridgers is buckling under the weight of making someone\u2019s dreams come true, but the song\u2019s\u00a0initial\u00a0quiet returns for the closing, \u201cAs above so below\/ As it was, so it goes.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cBobby\u201d\u00a0<\/h2>\n\n\n\t\u201cThe Governor\u2019s Waltz\u201d\u00a0leads straight into a proper love song\u00a0\u2014\u00a0on which Burnham\u00a0himself\u00a0is listed among the vocalists\u00a0\u2014\u00a0but in her\u00a0own\u00a0disquieting\u00a0style: with distant screaming, thundering drums and promises that she\u2019d kill her friends if her new love wasn\u2019t feeling them. The word\u00a0\u201clove\u201d\u00a0isn\u2019t said, but\u00a0everywhere, not only in the admission that her partner is \u201cwalking around with my heart on your sleeve\u201d but also in the personal details learned from\u00a0cohabitation (\u201cYou sing in the shower\/ I talk to myself\u201d). \u201cNow I don\u2019t know if I can make it tonight\/ But what are you doing the rest of my life, Bobby,\u201d Bridgers coos, ending the song on a breathless note.\u00a0\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Boys\u201d\u00a0<\/h2>\n\n\n\tBridgers\u00a0excels at slow\u00a0songs with lyrics that will either bring death by a thousand cuts or take\u00a0a listener out\u00a0with\u00a0one big wallop, but some of her best work happens when she speeds things up, as she\u00a0has done\u00a0with\u00a0\u201cMotion Sickness,\u201d \u201cKyoto\u201d and now \u201cLost Boys.\u201d The album single is playful, ever-so-detailed (\u201cThat one time in East Berlin\/ When you threw a tantrum with a 57\/ And broke a rib\u201d) and\u00a0a totally unforgettable earworm, thanks to a\u00a0trumpeting (both literally and figuratively)\u00a0chorus about\u00a0juvenile behaviors\u00a0no one ever\u00a0totally outgrows.\u00a0This\u00a0one\u00a0should be on her setlist forever.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cI\u00a0Can\u2019t\u00a0Wait\u201d\u00a0<\/h2>\n\n\n\tEverything\u00a0\u2014 the varying musical styles, the\u00a0past and the present, the uncertainty\u00a0and self-assurance \u2014\u00a0comes\u00a0together on \u201cI Can\u2019t Wait,\u201d\u00a0the third-to-last song on\u00a0Lost Weekend.\u00a0<\/em>The electronic static\u00a0and ambient voices\u00a0she\u2019s\u00a0played with the entire album\u00a0mingle with a\u00a0straightforward, repetitive\u00a0guitar,\u00a0the two styles finally overlapping in\u00a0a clear way.\u00a0She imagines being abandoned by her partner (\u201cBaby, baby if you leave me\/ Can you take me with you\/ I can sit in the back seat\u201d), but she also sees a life together (\u201cUntil we\u2019re dead or die trying\u201d).\u00a0It\u2019s\u00a0a very present song,\u00a0and Bridgers sounds\u00a0like someone both at the end and the beginning of her journey.\u00a0\u00a0<\/p>\n\n\tThere\u2019s\u00a0a very Antonoff-ian\u00a0moment where a dance beat kicks in, lightening, and that probably-Cameron-Winter voice\u00a0returns to\u00a0duet with her as\u00a0she\u00a0sings, \u201cAll my life\/ Side by side\/ Hyde Jekyll Hyde\/ Finally together,\u201d\u00a0while an acoustic guitar\u00a0plays\u00a0and\u00a0a harmonica, credited to Conor Oberst,\u00a0joins in.\u00a0The song\u00a0steadily\u00a0crescendos before stopping\u00a0abruptly, a\u00a0definitive\u00a0ending\u00a0that befits the\u00a0confident\u00a0track, one of her best.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/phoebe-bridgers-new-album-lost-weekend-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/08\/phoebe-bridgers-Olof-Grind-billboard-1800.jpg?w=1024″] Phoebe Bridgers\u2018\u00a0last album,\u00a0Punisher, arrived\u00a0in June 2020, in the early, uncertain days of COVID-19.\u00a0Though it was written prior to the pandemic, the\u00a0album\u00a0became a perfect\u00a0lockdown\u00a0summer soundtrack:\u00a0Sardonic,\u00a0reflective\u00a0and\u00a0restless,\u00a0it unintentionally captured the mood\u00a0of the time,\u00a0particularly with\u00a0a scream into the void on closer\u00a0\u201cI Know the End.\u201d\u00a0 Bridgers\u00a0couldn\u2019t\u00a0tour\u00a0Punisher\u00a0upon its release,\u00a0so instead she hosted a\u00a0handful\u00a0of livestreams from her apartment for […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2092738","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2092738"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2092738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2092738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2092738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tThis under-two-minute track starts with Bridgers singing a cappella, running through the mantra of \u201cNever going back again\/ The way it used to be is not the way that it is.\u201d The song has a forceful, driving rhythm, led by guitars and drums, that aligns with its message of forward momentum, while a closing voicemail from her dad signifies a connection to the past without letting it put a stranglehold on the future.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cOther Plans\u201d\u00a0<\/h2>\n\n\n\tCompared to the other\u00a0Lost Weekend\u00a0songs, \u201cOther Plans\u201d has a lean credit list \u2014 only Bridgers, Antonoff\u00a0and\u00a0Gruska \u2014 and a musical simplicity to match, with Bridgers playing piano and Gruska on synths,\u00a0adding atmosphere; lyrically, it\u2019s both vividly specific\u00a0(\u201cI got blood on my favorite shirt\/ You were shaking like a final girl\u201d)\u00a0and\u00a0vague (\u201cOur love had other plans for us\u201d).<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cKill Me\u201d\u00a0<\/h2>\n\n\n\tOne of the songs Bridgers performed at her Madison Square Garden show in June, \u201cKill Me\u201d starts quietly with an acoustic guitar playing in an unsettling, hazy atmosphere. \u201cTimes are scary,\u201d Bridgers sings uneasily,\u00a0before\u00a0a chorus of \u201cThis is\u00a0gonna\u00a0kill me\/ Wait\u201d sustains\u00a0the tone. Though\u00a0it\u2019s\u00a0a somber song, the heavy breakdown that closes it out is a fun,\u00a0slo-mo\u00a0headbanger. This also marks her first reference to \u201cBobby,\u201d\u00a0presumably Burnham, whose birth name is Robert\u00a0(\u201cBobby, you taught me that I know nothing\u201d). And\u00a0that voice you hear\u00a0at\u00a0the end, singing \u201ctamam\u00a0shud<\/em>\u201d (Persian for \u201cit is finished\u201d and popularized by\u00a0a mysterious 1940s murder)?\u00a0It\u2019s\u00a0credited\u00a0to\u00a0Son-John Johnson \u2014 though it sure does sound a lot like Cameron Winter.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cThe Outside\u201d\u00a0<\/h2>\n\n\n\tOn the\u00a0album opener, Bridgers filters her voice through a vocoder on the verses (\u201cCrying in a suit and tie\/ But you should see the other guy\u201d) and sheds the effect on the chorus (\u201cWhen I am on the outside, watching\/ I am on the outside, watching\u201d). The\u00a0verses\u00a0\u00a0\u2014\u00a0one\u00a0of a fist punching through drywall, the other with a fist enthusiastically pumping in the air\u00a0\u2014 play off each other, as the intimate, keyboard-driven track tees up the emotional and sonic oscillations\u00a0of the album, but it\u2019s a gorgeous song in its own right, too.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Weekend (Reprise)\u201d\u00a0<\/h2>\n\n\n\tA\u00a0final moving tribute to her father closes the album. Bridgers is specifically credited as playing the \u201cchurch organ,\u201d whose sustained notes give the song a dirge-like quality, though her voice floats above it, revisiting the \u201cLost Weekend\u201d melody. \u201cHe\u2019s not coming back as a bird,\u201d she sings, accepting his absence while still acknowledging his presence in the lessons she\u00a0retained.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLiberty Tree\u201d\u00a0<\/h2>\n\n\n\tBurnham grew up in Hamilton, Mass., which is only about 15 minutes from the Liberty Tree Mall, the scene for this up-tempo track that finds Bridgers and Burnham capturing a moment in a photo booth. \u201cYou were made in the image of god\/ But you look like your mom\/ In this picture of us\/ Falling in love that night\/ After our fight,\u201d she recalls, detailing their early days.\u00a0It\u2019s\u00a0a slice-of-life that Bridgers ends on a darkly sentimental note: \u201cDon\u2019t die, Bobby\/ Before I die\/ It feels so good to have you in my life.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Weekend\u201d\u00a0<\/h2>\n\n\n\tThe first couple minutes of this song (which credits\u00a0Damien Jurado\u2019s \u201cThe Last Great Washington State,\u201d\u00a0perhaps for the melody) play like classic Bridgers \u2014 detailed memories, closely\u00a0mic\u2019d\u00a0vocals supported only by sustained notes, admissions of love and rupture (\u201cI\u2019m supposed to be married, but I called it off,\u201d likely another Mescal reference) \u2014 while the last minute explodes. Glitchy snippets interrupt swooping strings, and nonsensical vocal chatter \u2014 sampled from\u00a0\u201cNotjustmoreidlechatter\u201d\u00a0by composer Paul Lansky \u2014\u00a0rushes\u00a0by.\u00a0It\u2019s\u00a0a fitting title track that marries Bridgers\u2019 old and new styles as she pushes her music into uncharted territory.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cThe Governor\u2019s Waltz\u201d\u00a0<\/h2>\n\n\n\tDon\u2019t\u00a0let the sing-song\u00a0music-box\u00a0melody (and, naturally, waltzing rhythm) fool you: Bridgers is taking shots on this one. \u201cI was the belle of the Governor\u2019s Ball,\u201d she sings,\u00a0a\u00a0role\u00a0it\u2019s\u00a0fair to say she\u00a0played in 2021\u00a0when she was\u00a0on red carpets with\u00a0Mescal.\u00a0Fans have speculated\u00a0that one lyric is a thinly-veiled dig at\u00a0Mescal\u2019s current girlfriend\u00a0(and avowed Bridgers fan) Gracie Abrams,\u00a0but the real dagger comes from the way she details a relationship on the fritz: \u201cSo, let\u2019s see how long we can go without talking\/ Watch me pretending to sleep\/ I\u2019m next to you, you\u2019re next to nothing\/ You promised that you\u2019d never leave\/ But maybe you\u2019ll do it for me.\u201d\u00a0Caroline\u00a0Shaw\u2019s\u00a0soaring background vocals\u00a0give the song a ghostly quality\u00a0\u2014 fitting\u00a0for what feels like an oddly pleasant musical\u00a0exorcism of a failed relationship.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cHaunted\u201d\u00a0<\/h2>\n\n\n\tNickel Creek virtuoso\u00a0Chris Thile appears with his mandolin on half a dozen\u00a0Lost Weekend<\/em>\u00a0songs\u00a0and brings his full band along for the ride twice, including here. The group is a fitting addition on \u201cHaunted,\u201d where Bridgers, harmonizing with\u00a0her\u00a0boygenius-mates\u00a0Dacus and Baker, leans into\u00a0upbeat,\u00a0folksy Americana as she finds the benefits of going through it and living to tell the tale: \u201cYou won\u2019t have to open a heart that\u2019s broken,\u201d she sings. \u201cWater\u2019s\u00a0gonna\u00a0flow in either way\/ My heart is growing either way.\u201d\u00a0It\u2019s\u00a0an empowering moment for Bridgers, as she pushes her writing\u00a0beyond reflections on the past and looks toward the horizon.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cStill Standing\u201d\u00a0<\/h2>\n\n\n\tBridgers focuses on her complicated relationship with her father, recognizing\u00a0the struggles he faced (\u201cJust to be thrown in the street when you dressed like a girl\u201d) without excusing his behavior (\u201cYou tried to make me afraid\u201d) or forgetting the scenes of physical violence she recalls from childhood (\u201cI found her bleeding over the sink\/ But when you said sorry, you were looking at me\u201d). The low hum of a synthesizer\u00a0starts the song, but acoustic guitars,\u00a0mandolin\u00a0and some light pedal steel join in to uplift\u00a0the heavy mood, with Bridgers ending on a\u00a0forgiving\u00a0note:\u00a0\u201cThank you for everything.\u201d Shaw, mixed with Bridgers and\u00a0perhaps also\u00a0Maria Taylor, who is credited, returns for another haunting vocal set that sends this devastating song off into the air like a paper lantern.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cAs Above\u201d\u00a0<\/h2>\n\n\n\tBridgers sounds agitated on\u00a0Lost Weekend<\/em>\u2019s hazy penultimate song, singing, \u201cTrying not to look down\/ Making faces at a kid on the plane\/ Trying not to freak out about being a couple days late.\u201d\u00a0Regret creeps in, as she confesses to a fear of dying \u201cbefore I take you to Coney Island\/ screaming on the Wonder Wheel.\u201d The song reaches its climax as a low rumbling sound builds and Bridgers forcefully declares, \u201cYou won\u2019t have to believe in magic\/ Leave it to me, and I\u2019ll make it happen.\u201d The proclamation sounds a little unhinged, like Bridgers is buckling under the weight of making someone\u2019s dreams come true, but the song\u2019s\u00a0initial\u00a0quiet returns for the closing, \u201cAs above so below\/ As it was, so it goes.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cBobby\u201d\u00a0<\/h2>\n\n\n\t\u201cThe Governor\u2019s Waltz\u201d\u00a0leads straight into a proper love song\u00a0\u2014\u00a0on which Burnham\u00a0himself\u00a0is listed among the vocalists\u00a0\u2014\u00a0but in her\u00a0own\u00a0disquieting\u00a0style: with distant screaming, thundering drums and promises that she\u2019d kill her friends if her new love wasn\u2019t feeling them. The word\u00a0\u201clove\u201d\u00a0isn\u2019t said, but\u00a0everywhere, not only in the admission that her partner is \u201cwalking around with my heart on your sleeve\u201d but also in the personal details learned from\u00a0cohabitation (\u201cYou sing in the shower\/ I talk to myself\u201d). \u201cNow I don\u2019t know if I can make it tonight\/ But what are you doing the rest of my life, Bobby,\u201d Bridgers coos, ending the song on a breathless note.\u00a0\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Boys\u201d\u00a0<\/h2>\n\n\n\tBridgers\u00a0excels at slow\u00a0songs with lyrics that will either bring death by a thousand cuts or take\u00a0a listener out\u00a0with\u00a0one big wallop, but some of her best work happens when she speeds things up, as she\u00a0has done\u00a0with\u00a0\u201cMotion Sickness,\u201d \u201cKyoto\u201d and now \u201cLost Boys.\u201d The album single is playful, ever-so-detailed (\u201cThat one time in East Berlin\/ When you threw a tantrum with a 57\/ And broke a rib\u201d) and\u00a0a totally unforgettable earworm, thanks to a\u00a0trumpeting (both literally and figuratively)\u00a0chorus about\u00a0juvenile behaviors\u00a0no one ever\u00a0totally outgrows.\u00a0This\u00a0one\u00a0should be on her setlist forever.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cI\u00a0Can\u2019t\u00a0Wait\u201d\u00a0<\/h2>\n\n\n\tEverything\u00a0\u2014 the varying musical styles, the\u00a0past and the present, the uncertainty\u00a0and self-assurance \u2014\u00a0comes\u00a0together on \u201cI Can\u2019t Wait,\u201d\u00a0the third-to-last song on\u00a0Lost Weekend.\u00a0<\/em>The electronic static\u00a0and ambient voices\u00a0she\u2019s\u00a0played with the entire album\u00a0mingle with a\u00a0straightforward, repetitive\u00a0guitar,\u00a0the two styles finally overlapping in\u00a0a clear way.\u00a0She imagines being abandoned by her partner (\u201cBaby, baby if you leave me\/ Can you take me with you\/ I can sit in the back seat\u201d), but she also sees a life together (\u201cUntil we\u2019re dead or die trying\u201d).\u00a0It\u2019s\u00a0a very present song,\u00a0and Bridgers sounds\u00a0like someone both at the end and the beginning of her journey.\u00a0\u00a0<\/p>\n\n\tThere\u2019s\u00a0a very Antonoff-ian\u00a0moment where a dance beat kicks in, lightening, and that probably-Cameron-Winter voice\u00a0returns to\u00a0duet with her as\u00a0she\u00a0sings, \u201cAll my life\/ Side by side\/ Hyde Jekyll Hyde\/ Finally together,\u201d\u00a0while an acoustic guitar\u00a0plays\u00a0and\u00a0a harmonica, credited to Conor Oberst,\u00a0joins in.\u00a0The song\u00a0steadily\u00a0crescendos before stopping\u00a0abruptly, a\u00a0definitive\u00a0ending\u00a0that befits the\u00a0confident\u00a0track, one of her best.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/phoebe-bridgers-new-album-lost-weekend-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/08\/phoebe-bridgers-Olof-Grind-billboard-1800.jpg?w=1024″] Phoebe Bridgers\u2018\u00a0last album,\u00a0Punisher, arrived\u00a0in June 2020, in the early, uncertain days of COVID-19.\u00a0Though it was written prior to the pandemic, the\u00a0album\u00a0became a perfect\u00a0lockdown\u00a0summer soundtrack:\u00a0Sardonic,\u00a0reflective\u00a0and\u00a0restless,\u00a0it unintentionally captured the mood\u00a0of the time,\u00a0particularly with\u00a0a scream into the void on closer\u00a0\u201cI Know the End.\u201d\u00a0 Bridgers\u00a0couldn\u2019t\u00a0tour\u00a0Punisher\u00a0upon its release,\u00a0so instead she hosted a\u00a0handful\u00a0of livestreams from her apartment for […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2092738","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2092738"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2092738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2092738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2092738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tCompared to the other\u00a0Lost Weekend\u00a0songs, \u201cOther Plans\u201d has a lean credit list \u2014 only Bridgers, Antonoff\u00a0and\u00a0Gruska \u2014 and a musical simplicity to match, with Bridgers playing piano and Gruska on synths,\u00a0adding atmosphere; lyrically, it\u2019s both vividly specific\u00a0(\u201cI got blood on my favorite shirt\/ You were shaking like a final girl\u201d)\u00a0and\u00a0vague (\u201cOur love had other plans for us\u201d).<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\u201cKill Me\u201d\u00a0<\/h2>\n\n\n\tOne of the songs Bridgers performed at her Madison Square Garden show in June, \u201cKill Me\u201d starts quietly with an acoustic guitar playing in an unsettling, hazy atmosphere. \u201cTimes are scary,\u201d Bridgers sings uneasily,\u00a0before\u00a0a chorus of \u201cThis is\u00a0gonna\u00a0kill me\/ Wait\u201d sustains\u00a0the tone. Though\u00a0it\u2019s\u00a0a somber song, the heavy breakdown that closes it out is a fun,\u00a0slo-mo\u00a0headbanger. This also marks her first reference to \u201cBobby,\u201d\u00a0presumably Burnham, whose birth name is Robert\u00a0(\u201cBobby, you taught me that I know nothing\u201d). And\u00a0that voice you hear\u00a0at\u00a0the end, singing \u201ctamam\u00a0shud<\/em>\u201d (Persian for \u201cit is finished\u201d and popularized by\u00a0a mysterious 1940s murder)?\u00a0It\u2019s\u00a0credited\u00a0to\u00a0Son-John Johnson \u2014 though it sure does sound a lot like Cameron Winter.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cThe Outside\u201d\u00a0<\/h2>\n\n\n\tOn the\u00a0album opener, Bridgers filters her voice through a vocoder on the verses (\u201cCrying in a suit and tie\/ But you should see the other guy\u201d) and sheds the effect on the chorus (\u201cWhen I am on the outside, watching\/ I am on the outside, watching\u201d). The\u00a0verses\u00a0\u00a0\u2014\u00a0one\u00a0of a fist punching through drywall, the other with a fist enthusiastically pumping in the air\u00a0\u2014 play off each other, as the intimate, keyboard-driven track tees up the emotional and sonic oscillations\u00a0of the album, but it\u2019s a gorgeous song in its own right, too.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLost Weekend (Reprise)\u201d\u00a0<\/h2>\n\n\n\tA\u00a0final moving tribute to her father closes the album. Bridgers is specifically credited as playing the \u201cchurch organ,\u201d whose sustained notes give the song a dirge-like quality, though her voice floats above it, revisiting the \u201cLost Weekend\u201d melody. \u201cHe\u2019s not coming back as a bird,\u201d she sings, accepting his absence while still acknowledging his presence in the lessons she\u00a0retained.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\n\u201cLiberty Tree\u201d\u00a0<\/h2>\n\n\n\tBurnham grew up in Hamilton, Mass., which is only about 15 minutes from the Liberty Tree Mall, the scene for this up-tempo track that finds Bridgers and Burnham capturing a moment in a photo booth. \u201cYou were made in the image of god\/ But you look like your mom\/ In this picture of us\/ Falling in love that night\/ After our fight,\u201d she recalls, detailing their early days.\u00a0It\u2019s\u00a0a slice-of-life that Bridgers ends on a darkly sentimental note: \u201cDon\u2019t die, Bobby\/ Before I die\/ It feels so good to have you in my life.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cLost Weekend\u201d\u00a0<\/h2>\n\n\n\tThe first couple minutes of this song (which credits\u00a0Damien Jurado\u2019s \u201cThe Last Great Washington State,\u201d\u00a0perhaps for the melody) play like classic Bridgers \u2014 detailed memories, closely\u00a0mic\u2019d\u00a0vocals supported only by sustained notes, admissions of love and rupture (\u201cI\u2019m supposed to be married, but I called it off,\u201d likely another Mescal reference) \u2014 while the last minute explodes. Glitchy snippets interrupt swooping strings, and nonsensical vocal chatter \u2014 sampled from\u00a0\u201cNotjustmoreidlechatter\u201d\u00a0by composer Paul Lansky \u2014\u00a0rushes\u00a0by.\u00a0It\u2019s\u00a0a fitting title track that marries Bridgers\u2019 old and new styles as she pushes her music into uncharted territory.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cThe Governor\u2019s Waltz\u201d\u00a0<\/h2>\n\n\n\tDon\u2019t\u00a0let the sing-song\u00a0music-box\u00a0melody (and, naturally, waltzing rhythm) fool you: Bridgers is taking shots on this one. \u201cI was the belle of the Governor\u2019s Ball,\u201d she sings,\u00a0a\u00a0role\u00a0it\u2019s\u00a0fair to say she\u00a0played in 2021\u00a0when she was\u00a0on red carpets with\u00a0Mescal.\u00a0Fans have speculated\u00a0that one lyric is a thinly-veiled dig at\u00a0Mescal\u2019s current girlfriend\u00a0(and avowed Bridgers fan) Gracie Abrams,\u00a0but the real dagger comes from the way she details a relationship on the fritz: \u201cSo, let\u2019s see how long we can go without talking\/ Watch me pretending to sleep\/ I\u2019m next to you, you\u2019re next to nothing\/ You promised that you\u2019d never leave\/ But maybe you\u2019ll do it for me.\u201d\u00a0Caroline\u00a0Shaw\u2019s\u00a0soaring background vocals\u00a0give the song a ghostly quality\u00a0\u2014 fitting\u00a0for what feels like an oddly pleasant musical\u00a0exorcism of a failed relationship.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cHaunted\u201d\u00a0<\/h2>\n\n\n\tNickel Creek virtuoso\u00a0Chris Thile appears with his mandolin on half a dozen\u00a0Lost Weekend<\/em>\u00a0songs\u00a0and brings his full band along for the ride twice, including here. The group is a fitting addition on \u201cHaunted,\u201d where Bridgers, harmonizing with\u00a0her\u00a0boygenius-mates\u00a0Dacus and Baker, leans into\u00a0upbeat,\u00a0folksy Americana as she finds the benefits of going through it and living to tell the tale: \u201cYou won\u2019t have to open a heart that\u2019s broken,\u201d she sings. \u201cWater\u2019s\u00a0gonna\u00a0flow in either way\/ My heart is growing either way.\u201d\u00a0It\u2019s\u00a0an empowering moment for Bridgers, as she pushes her writing\u00a0beyond reflections on the past and looks toward the horizon.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cStill Standing\u201d\u00a0<\/h2>\n\n\n\tBridgers focuses on her complicated relationship with her father, recognizing\u00a0the struggles he faced (\u201cJust to be thrown in the street when you dressed like a girl\u201d) without excusing his behavior (\u201cYou tried to make me afraid\u201d) or forgetting the scenes of physical violence she recalls from childhood (\u201cI found her bleeding over the sink\/ But when you said sorry, you were looking at me\u201d). The low hum of a synthesizer\u00a0starts the song, but acoustic guitars,\u00a0mandolin\u00a0and some light pedal steel join in to uplift\u00a0the heavy mood, with Bridgers ending on a\u00a0forgiving\u00a0note:\u00a0\u201cThank you for everything.\u201d Shaw, mixed with Bridgers and\u00a0perhaps also\u00a0Maria Taylor, who is credited, returns for another haunting vocal set that sends this devastating song off into the air like a paper lantern.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cAs Above\u201d\u00a0<\/h2>\n\n\n\tBridgers sounds agitated on\u00a0Lost Weekend<\/em>\u2019s hazy penultimate song, singing, \u201cTrying not to look down\/ Making faces at a kid on the plane\/ Trying not to freak out about being a couple days late.\u201d\u00a0Regret creeps in, as she confesses to a fear of dying \u201cbefore I take you to Coney Island\/ screaming on the Wonder Wheel.\u201d The song reaches its climax as a low rumbling sound builds and Bridgers forcefully declares, \u201cYou won\u2019t have to believe in magic\/ Leave it to me, and I\u2019ll make it happen.\u201d The proclamation sounds a little unhinged, like Bridgers is buckling under the weight of making someone\u2019s dreams come true, but the song\u2019s\u00a0initial\u00a0quiet returns for the closing, \u201cAs above so below\/ As it was, so it goes.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u201cBobby\u201d\u00a0<\/h2>\n\n\n\t\u201cThe Governor\u2019s Waltz\u201d\u00a0leads straight into a proper love song\u00a0\u2014\u00a0on which Burnham\u00a0himself\u00a0is listed among the vocalists\u00a0\u2014\u00a0but in her\u00a0own\u00a0disquieting\u00a0style: with distant screaming, thundering drums and promises that she\u2019d kill her friends if her new love wasn\u2019t feeling them. The word\u00a0\u201clove\u201d\u00a0isn\u2019t said, but\u00a0everywhere, not only in the admission that her partner is \u201cwalking around with my heart on your sleeve\u201d but also in the personal details learned from\u00a0cohabitation (\u201cYou sing in the shower\/ I talk to myself\u201d). \u201cNow I don\u2019t know if I can make it tonight\/ But what are you doing the rest of my life, Bobby,\u201d Bridgers coos, ending the song on a breathless note.\u00a0\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cLost Boys\u201d\u00a0<\/h2>\n\n\n\tBridgers\u00a0excels at slow\u00a0songs with lyrics that will either bring death by a thousand cuts or take\u00a0a listener out\u00a0with\u00a0one big wallop, but some of her best work happens when she speeds things up, as she\u00a0has done\u00a0with\u00a0\u201cMotion Sickness,\u201d \u201cKyoto\u201d and now \u201cLost Boys.\u201d The album single is playful, ever-so-detailed (\u201cThat one time in East Berlin\/ When you threw a tantrum with a 57\/ And broke a rib\u201d) and\u00a0a totally unforgettable earworm, thanks to a\u00a0trumpeting (both literally and figuratively)\u00a0chorus about\u00a0juvenile behaviors\u00a0no one ever\u00a0totally outgrows.\u00a0This\u00a0one\u00a0should be on her setlist forever.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u201cI\u00a0Can\u2019t\u00a0Wait\u201d\u00a0<\/h2>\n\n\n\tEverything\u00a0\u2014 the varying musical styles, the\u00a0past and the present, the uncertainty\u00a0and self-assurance \u2014\u00a0comes\u00a0together on \u201cI Can\u2019t Wait,\u201d\u00a0the third-to-last song on\u00a0Lost Weekend.\u00a0<\/em>The electronic static\u00a0and ambient voices\u00a0she\u2019s\u00a0played with the entire album\u00a0mingle with a\u00a0straightforward, repetitive\u00a0guitar,\u00a0the two styles finally overlapping in\u00a0a clear way.\u00a0She imagines being abandoned by her partner (\u201cBaby, baby if you leave me\/ Can you take me with you\/ I can sit in the back seat\u201d), but she also sees a life together (\u201cUntil we\u2019re dead or die trying\u201d).\u00a0It\u2019s\u00a0a very present song,\u00a0and Bridgers sounds\u00a0like someone both at the end and the beginning of her journey.\u00a0\u00a0<\/p>\n\n\tThere\u2019s\u00a0a very Antonoff-ian\u00a0moment where a dance beat kicks in, lightening, and that probably-Cameron-Winter voice\u00a0returns to\u00a0duet with her as\u00a0she\u00a0sings, \u201cAll my life\/ Side by side\/ Hyde Jekyll Hyde\/ Finally together,\u201d\u00a0while an acoustic guitar\u00a0plays\u00a0and\u00a0a harmonica, credited to Conor Oberst,\u00a0joins in.\u00a0The song\u00a0steadily\u00a0crescendos before stopping\u00a0abruptly, a\u00a0definitive\u00a0ending\u00a0that befits the\u00a0confident\u00a0track, one of her best.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_source url=”https:\/\/www.billboard.com\/lists\/phoebe-bridgers-new-album-lost-weekend-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/08\/phoebe-bridgers-Olof-Grind-billboard-1800.jpg?w=1024″] Phoebe Bridgers\u2018\u00a0last album,\u00a0Punisher, arrived\u00a0in June 2020, in the early, uncertain days of COVID-19.\u00a0Though it was written prior to the pandemic, the\u00a0album\u00a0became a perfect\u00a0lockdown\u00a0summer soundtrack:\u00a0Sardonic,\u00a0reflective\u00a0and\u00a0restless,\u00a0it unintentionally captured the mood\u00a0of the time,\u00a0particularly with\u00a0a scream into the void on closer\u00a0\u201cI Know the End.\u201d\u00a0 Bridgers\u00a0couldn\u2019t\u00a0tour\u00a0Punisher\u00a0upon its release,\u00a0so instead she hosted a\u00a0handful\u00a0of livestreams from her apartment for […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2092738","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2092738"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2092738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2092738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2092738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tOne of the songs Bridgers performed at her Madison Square Garden show in June, \u201cKill Me\u201d starts quietly with an acoustic guitar playing in an unsettling, hazy atmosphere. \u201cTimes are scary,\u201d Bridgers sings uneasily,\u00a0before\u00a0a chorus of \u201cThis is\u00a0gonna\u00a0kill me\/ Wait\u201d sustains\u00a0the tone. Though\u00a0it\u2019s\u00a0a somber song, the heavy breakdown that closes it out is a fun,\u00a0slo-mo\u00a0headbanger. This also marks her first reference to \u201cBobby,\u201d\u00a0presumably Burnham, whose birth name is Robert\u00a0(\u201cBobby, you taught me that I know nothing\u201d). And\u00a0that voice you hear\u00a0at\u00a0the end, singing \u201ctamam\u00a0shud<\/em>\u201d (Persian for \u201cit is finished\u201d and popularized by\u00a0a mysterious 1940s murder)?\u00a0It\u2019s\u00a0credited\u00a0to\u00a0Son-John Johnson \u2014 though it sure does sound a lot like Cameron Winter.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tOn the\u00a0album opener, Bridgers filters her voice through a vocoder on the verses (\u201cCrying in a suit and tie\/ But you should see the other guy\u201d) and sheds the effect on the chorus (\u201cWhen I am on the outside, watching\/ I am on the outside, watching\u201d). The\u00a0verses\u00a0\u00a0\u2014\u00a0one\u00a0of a fist punching through drywall, the other with a fist enthusiastically pumping in the air\u00a0\u2014 play off each other, as the intimate, keyboard-driven track tees up the emotional and sonic oscillations\u00a0of the album, but it\u2019s a gorgeous song in its own right, too.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tA\u00a0final moving tribute to her father closes the album. Bridgers is specifically credited as playing the \u201cchurch organ,\u201d whose sustained notes give the song a dirge-like quality, though her voice floats above it, revisiting the \u201cLost Weekend\u201d melody. \u201cHe\u2019s not coming back as a bird,\u201d she sings, accepting his absence while still acknowledging his presence in the lessons she\u00a0retained.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tBurnham grew up in Hamilton, Mass., which is only about 15 minutes from the Liberty Tree Mall, the scene for this up-tempo track that finds Bridgers and Burnham capturing a moment in a photo booth. \u201cYou were made in the image of god\/ But you look like your mom\/ In this picture of us\/ Falling in love that night\/ After our fight,\u201d she recalls, detailing their early days.\u00a0It\u2019s\u00a0a slice-of-life that Bridgers ends on a darkly sentimental note: \u201cDon\u2019t die, Bobby\/ Before I die\/ It feels so good to have you in my life.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tThe first couple minutes of this song (which credits\u00a0Damien Jurado\u2019s \u201cThe Last Great Washington State,\u201d\u00a0perhaps for the melody) play like classic Bridgers \u2014 detailed memories, closely\u00a0mic\u2019d\u00a0vocals supported only by sustained notes, admissions of love and rupture (\u201cI\u2019m supposed to be married, but I called it off,\u201d likely another Mescal reference) \u2014 while the last minute explodes. Glitchy snippets interrupt swooping strings, and nonsensical vocal chatter \u2014 sampled from\u00a0\u201cNotjustmoreidlechatter\u201d\u00a0by composer Paul Lansky \u2014\u00a0rushes\u00a0by.\u00a0It\u2019s\u00a0a fitting title track that marries Bridgers\u2019 old and new styles as she pushes her music into uncharted territory.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tDon\u2019t\u00a0let the sing-song\u00a0music-box\u00a0melody (and, naturally, waltzing rhythm) fool you: Bridgers is taking shots on this one. \u201cI was the belle of the Governor\u2019s Ball,\u201d she sings,\u00a0a\u00a0role\u00a0it\u2019s\u00a0fair to say she\u00a0played in 2021\u00a0when she was\u00a0on red carpets with\u00a0Mescal.\u00a0Fans have speculated\u00a0that one lyric is a thinly-veiled dig at\u00a0Mescal\u2019s current girlfriend\u00a0(and avowed Bridgers fan) Gracie Abrams,\u00a0but the real dagger comes from the way she details a relationship on the fritz: \u201cSo, let\u2019s see how long we can go without talking\/ Watch me pretending to sleep\/ I\u2019m next to you, you\u2019re next to nothing\/ You promised that you\u2019d never leave\/ But maybe you\u2019ll do it for me.\u201d\u00a0Caroline\u00a0Shaw\u2019s\u00a0soaring background vocals\u00a0give the song a ghostly quality\u00a0\u2014 fitting\u00a0for what feels like an oddly pleasant musical\u00a0exorcism of a failed relationship.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tNickel Creek virtuoso\u00a0Chris Thile appears with his mandolin on half a dozen\u00a0Lost Weekend<\/em>\u00a0songs\u00a0and brings his full band along for the ride twice, including here. The group is a fitting addition on \u201cHaunted,\u201d where Bridgers, harmonizing with\u00a0her\u00a0boygenius-mates\u00a0Dacus and Baker, leans into\u00a0upbeat,\u00a0folksy Americana as she finds the benefits of going through it and living to tell the tale: \u201cYou won\u2019t have to open a heart that\u2019s broken,\u201d she sings. \u201cWater\u2019s\u00a0gonna\u00a0flow in either way\/ My heart is growing either way.\u201d\u00a0It\u2019s\u00a0an empowering moment for Bridgers, as she pushes her writing\u00a0beyond reflections on the past and looks toward the horizon.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tBridgers focuses on her complicated relationship with her father, recognizing\u00a0the struggles he faced (\u201cJust to be thrown in the street when you dressed like a girl\u201d) without excusing his behavior (\u201cYou tried to make me afraid\u201d) or forgetting the scenes of physical violence she recalls from childhood (\u201cI found her bleeding over the sink\/ But when you said sorry, you were looking at me\u201d). The low hum of a synthesizer\u00a0starts the song, but acoustic guitars,\u00a0mandolin\u00a0and some light pedal steel join in to uplift\u00a0the heavy mood, with Bridgers ending on a\u00a0forgiving\u00a0note:\u00a0\u201cThank you for everything.\u201d Shaw, mixed with Bridgers and\u00a0perhaps also\u00a0Maria Taylor, who is credited, returns for another haunting vocal set that sends this devastating song off into the air like a paper lantern.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tBridgers sounds agitated on\u00a0Lost Weekend<\/em>\u2019s hazy penultimate song, singing, \u201cTrying not to look down\/ Making faces at a kid on the plane\/ Trying not to freak out about being a couple days late.\u201d\u00a0Regret creeps in, as she confesses to a fear of dying \u201cbefore I take you to Coney Island\/ screaming on the Wonder Wheel.\u201d The song reaches its climax as a low rumbling sound builds and Bridgers forcefully declares, \u201cYou won\u2019t have to believe in magic\/ Leave it to me, and I\u2019ll make it happen.\u201d The proclamation sounds a little unhinged, like Bridgers is buckling under the weight of making someone\u2019s dreams come true, but the song\u2019s\u00a0initial\u00a0quiet returns for the closing, \u201cAs above so below\/ As it was, so it goes.\u201d\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\t\u201cThe Governor\u2019s Waltz\u201d\u00a0leads straight into a proper love song\u00a0\u2014\u00a0on which Burnham\u00a0himself\u00a0is listed among the vocalists\u00a0\u2014\u00a0but in her\u00a0own\u00a0disquieting\u00a0style: with distant screaming, thundering drums and promises that she\u2019d kill her friends if her new love wasn\u2019t feeling them. The word\u00a0\u201clove\u201d\u00a0isn\u2019t said, but\u00a0everywhere, not only in the admission that her partner is \u201cwalking around with my heart on your sleeve\u201d but also in the personal details learned from\u00a0cohabitation (\u201cYou sing in the shower\/ I talk to myself\u201d). \u201cNow I don\u2019t know if I can make it tonight\/ But what are you doing the rest of my life, Bobby,\u201d Bridgers coos, ending the song on a breathless note.\u00a0\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tBridgers\u00a0excels at slow\u00a0songs with lyrics that will either bring death by a thousand cuts or take\u00a0a listener out\u00a0with\u00a0one big wallop, but some of her best work happens when she speeds things up, as she\u00a0has done\u00a0with\u00a0\u201cMotion Sickness,\u201d \u201cKyoto\u201d and now \u201cLost Boys.\u201d The album single is playful, ever-so-detailed (\u201cThat one time in East Berlin\/ When you threw a tantrum with a 57\/ And broke a rib\u201d) and\u00a0a totally unforgettable earworm, thanks to a\u00a0trumpeting (both literally and figuratively)\u00a0chorus about\u00a0juvenile behaviors\u00a0no one ever\u00a0totally outgrows.\u00a0This\u00a0one\u00a0should be on her setlist forever.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \n\tEverything\u00a0\u2014 the varying musical styles, the\u00a0past and the present, the uncertainty\u00a0and self-assurance \u2014\u00a0comes\u00a0together on \u201cI Can\u2019t Wait,\u201d\u00a0the third-to-last song on\u00a0Lost Weekend.\u00a0<\/em>The electronic static\u00a0and ambient voices\u00a0she\u2019s\u00a0played with the entire album\u00a0mingle with a\u00a0straightforward, repetitive\u00a0guitar,\u00a0the two styles finally overlapping in\u00a0a clear way.\u00a0She imagines being abandoned by her partner (\u201cBaby, baby if you leave me\/ Can you take me with you\/ I can sit in the back seat\u201d), but she also sees a life together (\u201cUntil we\u2019re dead or die trying\u201d).\u00a0It\u2019s\u00a0a very present song,\u00a0and Bridgers sounds\u00a0like someone both at the end and the beginning of her journey.\u00a0\u00a0<\/p>\n \n\tThere\u2019s\u00a0a very Antonoff-ian\u00a0moment where a dance beat kicks in, lightening, and that probably-Cameron-Winter voice\u00a0returns to\u00a0duet with her as\u00a0she\u00a0sings, \u201cAll my life\/ Side by side\/ Hyde Jekyll Hyde\/ Finally together,\u201d\u00a0while an acoustic guitar\u00a0plays\u00a0and\u00a0a harmonica, credited to Conor Oberst,\u00a0joins in.\u00a0The song\u00a0steadily\u00a0crescendos before stopping\u00a0abruptly, a\u00a0definitive\u00a0ending\u00a0that befits the\u00a0confident\u00a0track, one of her best.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [analyse_source url=”https:\/\/www.billboard.com\/lists\/phoebe-bridgers-new-album-lost-weekend-tracks-ranked\/”]<\/p>\n","protected":false},"excerpt":{"rendered":" [analyse_image type=”featured” src=”https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/08\/phoebe-bridgers-Olof-Grind-billboard-1800.jpg?w=1024″] Phoebe Bridgers\u2018\u00a0last album,\u00a0Punisher, arrived\u00a0in June 2020, in the early, uncertain days of COVID-19.\u00a0Though it was written prior to the pandemic, the\u00a0album\u00a0became a perfect\u00a0lockdown\u00a0summer soundtrack:\u00a0Sardonic,\u00a0reflective\u00a0and\u00a0restless,\u00a0it unintentionally captured the mood\u00a0of the time,\u00a0particularly with\u00a0a scream into the void on closer\u00a0\u201cI Know the End.\u201d\u00a0 Bridgers\u00a0couldn\u2019t\u00a0tour\u00a0Punisher\u00a0upon its release,\u00a0so instead she hosted a\u00a0handful\u00a0of livestreams from her apartment for […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[48,226],"class_list":["post-2092738","post","type-post","status-publish","format-standard","hentry","category-politics","tag-billboard-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2092738"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2092738\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2092738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2092738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2092738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\u201cThe Outside\u201d\u00a0<\/h2>\n
\u201cLost Weekend (Reprise)\u201d\u00a0<\/h2>\n
\u201cLiberty Tree\u201d\u00a0<\/h2>\n
\u201cLost Weekend\u201d\u00a0<\/h2>\n
\u201cThe Governor\u2019s Waltz\u201d\u00a0<\/h2>\n
\u201cHaunted\u201d\u00a0<\/h2>\n
\u201cStill Standing\u201d\u00a0<\/h2>\n
\u201cAs Above\u201d\u00a0<\/h2>\n
\u201cBobby\u201d\u00a0<\/h2>\n
\u201cLost Boys\u201d\u00a0<\/h2>\n
\u201cI\u00a0Can\u2019t\u00a0Wait\u201d\u00a0<\/h2>\n