Phoebe Bridgers' 'Lost Weekend' is a treasure trove of musical references, each one a subtle nod to the artists and albums that have influenced her. From Elliott Smith to The Replacements, Bridgers weaves in these references with a deft touch, creating a rich tapestry of musical storytelling. Here's a deep dive into some of the most intriguing Easter eggs found on the album, along with my personal thoughts and interpretations.
Elliott Smith's 'Angel in the Snow'
The opening line of 'Still Standing' - 'An angel in the snow/Accident prone' - is a clear reference to Elliott Smith's 'Angel in the Snow' from the New Moon compilation. This connection is particularly fascinating because it showcases Bridgers' deep appreciation for Smith's work. The phrase 'angel in the snow' is not just a coincidence; it's a direct quote that adds a layer of emotional depth to the song. Personally, I think this reference is a beautiful tribute to a musician who has left an indelible mark on Bridgers' own songwriting.
Damien Jurado's 'The Last Great Washington State'
'Lost Weekend' and its reprise are co-written by Damien Jurado, whose 'The Last Great Washington State' provides the foundation for these tracks. This collaboration highlights Bridgers' willingness to pay homage to lesser-known artists. Jurado's work, often overlooked, is now intertwined with her own, bringing a unique flavor to the album. This nod is a reminder that musical influence can come from unexpected places, and it's a testament to Bridgers' eclectic taste.
The Replacements' 'Can't Hardly Wait'
The chorus of 'I Can't Wait' bears a striking resemblance to The Replacements' 'Can't Hardly Wait.' This isn't the first time Bridgers has played with this song; she previously used a similar phrase on 'Chesapeake.' The influence of The Replacements is evident, and it's a fun, nostalgic touch. What makes this particularly fascinating is the evolution of her songwriting, where she seamlessly blends her own style with the essence of her musical heroes.
'I Fought the Law'
'Lost Weekend (Reprise)' draws inspiration from the classic rock & roll song 'I Fought the Law.' The lyrics 'I am my old man's oldest son/I fought the wall, and the wall won' echo the original's theme of rebellion and its consequences. This reference is a subtle yet powerful reminder of the enduring nature of rock & roll, connecting past and present in a beautiful musical continuum.
Conor Oberst's 'I'm Wide Awake, It's Morning'
'Haunted' features a clever play on Conor Oberst's album title, 'I'm Wide Awake, It's Morning.' The line 'But by the evening, I'm wide awake' is a subtle nod to Oberst's work, showcasing Bridgers' ability to weave in personal connections. The harmonica played by Oberst on 'I Can't Wait' further strengthens this bond, creating a sense of musical kinship.
The Statler Brothers' 'My Past Is Looking Brighter (All The Time)'
'Liberty Tree' includes a clever reference to The Statler Brothers' song title, 'My Past Is Looking Brighter (All The Time).' This hidden detail adds a layer of complexity to the song, suggesting a narrative of personal growth and redemption. It's a subtle yet powerful reminder of the album's thematic depth.
Black Sabbath's 'Live Forever'
Bridgers' love for Black Sabbath is evident in her performance at Madison Square Garden, where she wore a Sabbath T-shirt. The song 'As Above' includes the lines 'Now I don’t want to live forever/But I don’t wanna die,' which are a direct echo of Black Sabbath's 'Live Forever' from their final studio album, 13. This reference is a testament to her diverse musical influences and her ability to blend them seamlessly.
'Graceland Too'
'Graceland Too' is a self-referential masterpiece, serving as a recurring motif throughout the album. The melody and lyrics pay homage to Bridgers' own song, 'Punisher,' and its phrase 'rebel without a clue.' This postmodern twist adds a layer of meta-narrative to the album, inviting listeners to explore the connections between her work and the influences that shaped it.
In conclusion, Phoebe Bridgers' 'Lost Weekend' is a masterpiece of musical storytelling, where each reference is a piece of a larger puzzle. Her ability to weave these influences into her own unique style is a testament to her artistry. As an expert listener, I find myself captivated by the intricate web of musical nods, each one adding depth and meaning to an already exceptional album.
