Concert Review: Phoebe Bridgers’ ethereal vision and vulnerable lyricism shines at The Lost Tour

Phoebe Bridgers has proven that a concert does not have to be recorded to be remembered.?

The singer-songwriter, best known for her emotional indie-folk and alternative-rock-infused discography, illuminated Nationwide Arena Tuesday for her Columbus stop on The Lost Tour. The tour features Bridgers’ most recent studio album, “Lost Weekend,” released Aug. 14.?

Bridgers’ The Lost Tour is a phone-free environment, as upon entrance, attendees were required to place cell phones in lockable Yondr pouches throughout the duration of the performance, which were later unlocked as fans exited the arena.

Without distractions, attendees expressed themselves to the fullest extent — getting to know those around them, dancing like no one was watching and shamelessly shedding tears.?

Indie-rock singer Alex G opened for Bridgers on the arena’s secondary stage, placed in the middle of general admission. While “Mary” and “Sarah” were standouts, the performance was stronger instrumentally than vocally and, at times, reassembled the unpolished sound of a high school garage band.??

Prior to Bridgers’ set, the main stage featured a large white dome-shaped cover, backdropped by floor-to-ceiling draperies projected with blue-toned television static. A black disco ball-like structure floated above the secondary stage, casting teal lighting synced with autotuned vocals as “The Outside” opened Bridgers’ set.?

The dome structure rose with a gust of smoke, revealing Bridgers and her band beneath it as the iconic electric guitar intro to the 2017 hit “Motion Sickness” rang out.?

Lights above the main stage projected a golden hue over Bridgers and the audience, as her face was projected onto the large-scale draperies behind her. She wore a quarter-sleeve black mini dress with silver sparkly makeup — resembling tears running down her face.?

“Motion Sickness” was the ideal selection to open Bridgers’ performance, as it flaunts the best aspects of her discography — gut-wrenching lyricism paired with an indie-rock instrumental.?

Bridgers then transitioned into “Kill Me,” as gray-toned lighting and a more isolated sound encapsulated the arena. It was during this track that the overhead dome took on the appearance of a spaceship, seemingly abducting the performers.??

“The Governor’s Waltz” continued the space-forward theme, as soft beams of rainbow lighting projected across the arena. About halfway through the song, projections of orbiting planets could be seen against the main stage’s backdrop, and the dome structure tilted backwards to reveal its underside and a projection of Bridgers’ face.?

It was at this moment that attendees felt as though they were fully transported to outer space, with all of its wonders and mysteries — its craters and constellations — on full display.?

Cheers erupted as Bridgers’ band transitioned into “Lost Boys,” the first single released from “Lost Weekend.” Fans in both the stands and the pit jumped and twirled throughout the song, and the track served as a needed pick-me-up to its former, more lyric-forward, choices.?

A darker hue then fell over the backdrop, as the scene from the cover of “Punisher,” Bridgers’ 2020 studio album, was projected as the instrumental track “DVD Menu” played. The softer opening to “Garden Song” then began, as Bridgers slowly swayed along with fans to its gentle lyrics.?

“I have everything I wanted,” she sang in its outro.?

One of the most emotional moments of the night came with Bridgers’ performance of “Moon Song,” a slow-building ballad depicting a personal journey with unrequited love. Around the arena, fans could be seen holding up lighters in place of cellphone flashlights — establishing a true moment of connection between Bridgers and the audience.?

While the song elicited pure sorrow, Bridgers beamed.?

“Liberty Tree” picked up the pace, but was one of the more forgettable tracks of the night.

The performance then moved to the smaller secondary stage, as Bridgers walked through a pathway between the lower bowl and the pit,? interlocking hands with fans as she passed by.?

Bridgers took the stage solo, sitting on the ground for “Lost Weekend,” the title track from her most recent album that depicts her journey while simultaneously recovering from heartbreak and grief. As the song progressed, the disco ball-shaped light structure above the stage shot beams of rainbow lighting like electric currents around the arena while both the structure and stage slowly spun.?

Following the cathartic, hard-hitting instrumental outro to “Lost Weekend,” another moment of silence fell over the crowd as Bridgers and her band began strumming the acoustic guitar intro to “Funeral.”?

“I’m singing at a funeral tomorrow / for a kid a year older than me,” Bridgers sang.

As the track progressed, golden lighting fell over the crowd as stars projected behind the main stage. The aesthetic choice felt entirely purposeful, as though it represented the sun coming up on a moment of complete darkness.?

Shades of pink, blue and purple took over for “Graceland Too,” for which Bridgers was backed by guitar, violin and banjo — another track that leaned into emotional themes of mental health and personal strength.?

The atmosphere was brought back up with “Haunted,” a track to which fans danced and loudly sang along.?

Bridgers then took a moment to speak directly with attendees, expressing her gratitude for her fans’ willingness to comply with the phone-free policy.

“That means the world and makes this experience so much more pleasant for me,” Bridgers said.

Bridgers touched on her personal journey with grief and her complicated relationship with her father. She said it became all the heavier when facing his ongoing illness and eventual passing — explaining how phone-free performances enable her to fully feel her emotions, free from the pressure of having a potential breakdown recorded.?

Bridgers then moved into “Still Standing” and “As Above,” which were paired with an alien abduction-style ray of blue light beaming down, followed by sparkles that rained onto her.?

Making her way back to the main stage, Bridgers rocked out to “Bobby” — a track dedicated to newfound love and admiration.?

Bridgers continued the heartfelt theme with “Sidelines” before returning to her emotive roots with “Waiting Room,” one of her earliest tracks.?

“Kyoto” featured neon lighting and arcade-style 2D graphics projected behind the stage, and “I Know The End” enticed attendees to scream out their frustrations alongside Bridgers in an epic catharsis.?

Bridgers then returned to the secondary stage in a new, glow-in-the-dark dress for an encore, performing “Scott Street.” Familiar, rainbow-colored beams danced around the arena before the lights turned on to reveal the entire audience. Fans linked arms and swayed alongside Bridgers as she sang the bittersweet track.

“Anyway, don’t be a stranger,” she sang.?

In performing an album that explores themes of loss, grief and healing, Bridgers proved that moments do not have to be immortalized to be meaningful, and human connection can be found in the most vulnerable of places.

Rating: 4.5/5