Phoebe Bridgers’ harrowing sophomore album, “Punisher,” released months into a global pandemic, somehow perfectly encapsulates and parallels the feelings of many Americans during an eerie time in history.
Bridgers’ unique “emo-folk” sound is an unprecedented take in today’s music, and “Punisher” provides a prophetic look into the future of the indie/alternative genre framed through the perspective of a 26-year-old visionary. Her soft, haunting voice is a defining aspect of the album, and when accompanied by the slow, introspective songs she writes, Bridgers creates something truly magical.
The last track on the album, “I Know The End,” is a timely critique on a covid-stricken, apocalyptic America. Bridgers writes,
“So I gotta go / I know, I know, I know / When the sirens sound, you’ll hide under the floor /
But I’m not gonna go down with my hometown in a tornado / I’m gonna chase it / I know, I know, I know.”
“I Know The End” slowly crescendos from a soft song, not unlike the others on the album, into a large, symphonic, chaotic ending.
Perhaps representing a descent into madness, or “the end” she is referring to throughout the song, Bridgers expertly crafts a build that is reminiscent of an apocalypse with the artful use of tempo, minor, clashing chords and recorded screams.
This is no easy feat—a musical masterpiece, even—and “I Know The End” is a clear standout on the album, especially when viewed through the lens of a global pandemic.
“No, I’m not afraid to disappear/ The billboard said, “The end is near.”
I turned around, there was nothing there/ Yeah, I guess the end is here.”
Another standout is “Kyoto,” an upbeat juxtaposition of the many ballads found in “Punisher.”
“Kyoto,” which earned a nomination for Best Rock Song at the 63rd Grammys, narrates a strained relationship between Bridgers and her father. She writes,
“You called me from a payphone/ They still got payphones/ It cost a dollar a minute.
To tell me you’re getting sober/ And you wrote me a letter/ But I don’t have to read it.’
“Kyoto” is a confusing feat—representing Bridgers’ familiar sad, introspective lyrics through an objectively ‘happy’ sound implemented with electric guitar and horns.
“I’m gonna kill you/ If you don’t beat me to it / Dreaming through Tokyo skies.
I wanted to see the world/ Then I flew over the ocean/ And I changed my mind (Ooh)”
“Punisher” has received nothing but praise thus far, receiving four Grammy nominations: Best New Artist, Best Rock Performance, Best Rock Song and Best Alternative Music Album. Her music has recently gained the attention and critical approval of male musicians like John Mayer.
Bridgers responded to this metaphorical male stamp of approval in an interview with “them.”
“I got a question recently, actually. It was like, ‘Conor Oberst and John Mayer really like you. Why do you think men of a certain age gravitate toward you?’ And I was like, ‘One, they’re nothing alike.’ And also, men of a certain age? They’re all f*cking 40.”
“I f*cking hate it,” Bridgers said.
Perhaps pointing to the ever-present problem of male-domination in the music industry, Bridgers is the antithesis of the misogynistic male gaze often found in society today and explicitly proves this in her solo album “Punisher.”
“Punisher” is, to simply put it, an extraordinary feat. Bridgers redefines music and the indie/alternative genre itself with her remarkable lyricism and unparalleled sound through her eccentric, expertly-produced album.