Phoebe Bridgers Creates Her Own Universe in St. Paul
Written by: Rebecca Ackerman
That iconic meme, “Not a cell phone in sight, just people living in the moment,” was the theme of Phoebe Bridgers’ show in St. Paul on September 17. As fans entered the Grand Casino Arena, their phones were locked away in Yondr pouches and were without them for the rest of the night. The singer/songwriter who is known for her haunting soprano voice and sad girl music put on a show fans will never forget, even if it only lives within their memories and not in photos or videos.
The venue had two stages set up. One had what can only be described as half of the Epcot ball, taking up the main stage and a smaller B-stage in the back of the venue. Alex G’s set was performed on the smaller b-stage in the back, which was a unique set-up that I had never seen before. Alex G’s stage was filled with smoke and surrounded by large LED light strips. The 19–song opening set went about an hour and was almost as long as Bridgers’ performance.
The hazy performance made it difficult to really see what was going on during the set, but it did help to keep the attention on the music. Alex G’s set felt like whiplash as he showcased his various musical sounds and talents. Starting off with “Gretel,” “Southern Sky,” and “Hope,” Alex G introduced the audience to his alternative indie style filled with harmonies.
Alex G took the crowd through some of his experimental indie sound before plunging us into what could almost be considered screamo music with “Brick.” The crowd stood still during this moment as they were processing the vibe shift.
After a brief interlude into heavier music, he whispered into the microphone for “Blessing.” The whispering made it difficult to hear most of the song. He also teased his most popular song, "Sarah," by falsely introducing "Immunity," which was a fun moment to see his personality shine through. Alex G wrapped up with the highly anticipated “Sarah” and a quick “thank you” before leaving the stage. It was an enjoyably vibey opening performance filled with unexpected and disjointed moments, which kept fans surprised at every turn.
The lights dimmed again, and the half-Epcot ball began to rise from the main stage. At that moment it began to look like a stereotypically depicted UFO, which felt fitting, as much of the imagery Bridgers used throughout the night was space-themed. It revealed Phoebe Bridgers and her band all dressed in black and singing the opening notes of “Motion Sickness.” The crowd erupted into cheers and dancing. Those in the back of the pit had the room to dance and spin with one another. The UFO moved up and down throughout her first song before turning fully vertical and becoming a screen that depicted planets, the moon, and Bridgers herself. The show was a spectacle: laser lights, smoke, and the album art of Punisher.
Bridgers’ makeup, made to look like tears frozen in time on her cheeks, and her black dress really added to the overall vibe of Lost Weekend, which was honestly just really sad.
Bridgers took her set to the B-stage, and the laser lights circled the audience
with strips of rainbow light before exploding into what can only be described as a “sad girl rave” when the drop of “Lost Weekend” hit. The B-stage rotated, which felt like she was a planet in the sky. Her time on the B-stage was filled with raw emotions as she shared her feelings about the six years between albums.
The no-phones show had everyone truly dialed into her performance right from the jump. There was nowhere to look but directly at Bridgers, and she made sure they were given a performance worth watching. The meticulously thought-out performance meant every crescendo was emphasized by flashing lights and visual imagery. Her guttural screams brought comfort and necessary release to the room.
She thanked the fans for putting their phones away for the night and mentioned how it has “been an impossible time in my life. My dad died, and I became totally scared of people.” The willingness the fans had to put their phones away really made the experience worth it. The show wouldn’t have had the same impact if a phone had been shoved in their faces the entire time.
She returned to the main stage and played some of her most well-known songs, such as “Kyoto” and “I Know the End," but not before surprising the crowd with the tour debut of “Savior Complex.” The surprise was welcomed as people around me gasped as the opening notes played. The best moment of the night was when Bridgers encouraged everyone to scream as loudly as they could during “I Know the End.” The whole arena released whatever they had been holding in, and it was very cathartic.
Bridgers returned to the B-stage to perform her encore. This time she was wearing a white dress, which felt like the symbolism of hope ahead. After an incredibly dark and depressing album, the white dress appeared to emphasize her hope of moving on and towards a brighter future. She wrapped up by performing “Scott Street” to an entirely illuminated crowd as she took in everyone’s faces one more time.
The night was a chilling reminder of humanity told through her stunning imagery and world-building. Each emotion felt frozen in time, and for those few hours in Grand Casino Arena, the only thing that mattered was not the phones in their pockets but what was actually going on when they all looked up.
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