Killer - Phoebe Bridgers at Port City Music Hall, Portland ME

Doug Fir Patio Portland

This illustrious trio is comprised of the most exciting and visionary young songwriters in independent rock, whose critically acclaimed albums were all released in the past year Turn Out The Lights, Stranger In The Alps, and Historian, respectively.

This illustrious trio is comprised of the most exciting and visionary young songwriters in independent rock, whose critically acclaimed albums were all released in the past year Turn Out The Lights, Stranger In The Alps, and Historian, respectively.

Baker and Bridgers will hit the road in North America this fall for a co-headline tour, with Dacus opening. Each artist will play her own individual set of tunes, but fans just might be able to hear some boygenius songs along the way - though that's a rumor we can't yet confirm. The full list of tour dates for their tour together, as well as each individual artist's itinerary, can be found below. Baker, Bridgers, and Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that.

Through a series of tours and performances together, and chance encounters that led to friendships - including Bridgers' and Dacus' first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus - the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

Baker's sophomore LP Turn On the Lights and Bridgers' debut Stranger in the Alps swept best-of lists, while Dacus' meditation on loss, Historian, has already become one of 's most lauded releases.

Each brought one finished song and one idea to boygenius, and though all six songs were fleshed out and finalized together, each reflects the sensibilities of its initial author. Baker's slow builds and taut vocals add urgency to "Souvenir" and "Stay Down," while album opener "Bite the Hand" roils with slow-burning layers of guitar as Dacus stands in her devastating truth: Julien Baker's solo debut, Sprained Ankle, was one of the most widely acclaimed works of The album, recorded by an year-old and her friend in only a few days, was a bleak yet hopeful, intimate document of staggering experiences and grace, centered entirely around Baker's voice, guitar, and unblinking honesty.

With Turn Out The Lights, the now year-old Baker returns to a much bigger stage, but with the same core of breathtaking vulnerability and resilience. From its opening moments - when her chiming, evocative melody is accompanied by swells of strings - Turn Out The Lights throws open the doors to the world without sacrificing the intimacy that has become a hallmark of her songs. The album explores how people live and come to terms with their internal conflict, and the alternately shattering and redemptive ways these struggles play out in relationships.

Baker casts an unflinching and accepting eye on the duality of - and contradictions in - the human experience, at times even finding humor and joy in the midst of suffering. She ultimately calls on her listeners to move beyond "good" and "bad," or "happy" and "sad," to embrace more complex truths.

This evolution from Sprained Ankle's intentionally spare production allowed greater scope and freedom for Baker, who is still the album's sole writer and producer. Strings and woodwinds now shade the corners of her compositions, and Baker takes to piano rather than guitar on several tracks.

In songs like the epic "Claws In Your Back," these new textures push Baker's work to cinematic heights of intensity. As always, the real draw is her songwriting and lyricism. Turn Out The Lights is more expansive in sound and vision than Sprained Ankle and illustrates significant growth, yet the album retains the haunting delicacy of her heartbreakingly confessional style. Where her debut focused inward on Baker's life and aspects of her identity female, queer, Christian , Turn Out The Lights reflects on not only her own experiences, but also the experiences of those closest to her.

The result finds Baker narrating a deliberate meditation on how we each try to deal with our ever-shifting mental health, and the impact this can have on both ourselves and others. The album sets out to address how the process of coping with internal conflicts affects different relationships - romantic, familial, and friendly.

Baker turns outward to embrace the challenges of the human experience, weaving personal struggles together into one surprisingly hopeful chorus. The album is bookended by "Appointments" and "Claws in Your Back," two songs that deal with the precarious balance between nihilism and realism.

But for the sake of my continuing to exist, I have to believe that it will. She resists facile conclusions and never glamorizes the extremes she depicts; yet she continually holds out the possibility of joy and solidarity. On "Claws In Your Back," she turns her own hard-won determination to thrive into a rallying cry for her friends "I think I can love the sickness you made.

I take it all back, I change my mind. I wanted to stay". Even as Turn Out The Lights explores broken relationships "Sour Breath" , the search for a cure that may not exist "Everything To Help You Sleep" , and the impossibility of ever truly understanding each other "Shadowboxing" , Baker continually returns to the possibility of joy.

It is not a destination that you can get to by exerting enough mental effort. I believe that joy is something that you can invite into your present circumstance. Whereas happiness seems to be this horizon that's eternally getting further from you, joy is something that you can inhabit. Turn Out The Lights is ultimately a healing experience, and it's impossible not to feel Baker's unyielding compassion for the messy and beautiful human experience. Stranger in the Alps - out September 22, via Dead Oceans Don't let the somber tone of her music fool you: OK, I definitely do that once in a while, but I don't consider myself an intense person.

From an early age, she found encouragement from a close-knit artistic community of friends and family to follow her dreams, and at school she forged relationships that would teach her as much about her craft as her classes.

It is so personal, so intense. A lot of shit goes down wherever you may grow up. But of course the truth is that the unique ingredient at play, the calling card that has drawn all this interest and intrigue, is simply Bridgers' music itself. Her powerful, lilting voice and her haunting, introspective songs light the torch that shows the way, and are what have inspired artists like Ryan Adams to produce her single, or Julien Baker to bring her on tour in , as well as John Doe and Conor Oberst to sing with her on her debut album.

There is a delicate balance to her work, a dance between veiled narratives and earnest emotions, between whispers and shouts. And according to Bridgers, everything you hear has arrived by feeling; her music is what comes when she is at her most honest, without specific intention, and she aims to be in her songs the person she is in the world.

Stranger in the Alps opens with the one-two punch of "Smoke Signals" and "Motion Sickness," a pair of songs that highlight Bridgers' abilities. The former, a gorgeous, ethereal tune guided by sparse electric guitar and sweeping strings, toes the line between weary and wistful, using specific anecdotes from its singer to tell its tale.

The style highlights the strengths of Bridgers' unique lyric writing perspective: The latter is perhaps the most upbeat moment on the album and was written on her baritone guitar and discusses a problematic relationship from her past.

That song in particular inspired her to be more honest in her approach. As with any singer's debut, the songs here comprise a wide swath of Bridgers' life, dating from the oldest, "Georgia," which she calls the most different-sounding on the LP, to the opening pair, which were written after the recording process had already begun.

Berg and co-producer Ethan Gruska worked with Bridgers to record in on-and-off stretches in between tours over at Berg's studio in Brentwood.

She went into the studio with the majority of the material written, however "Smoke Signals" and "Motion Sickness" were written in a cabin in Idaho, while Bridgers was waiting for a tour to begin. The pair were the last songs written for the LP. I feel pretty confident that I'm finding my voice," she says. You said, "Don't go changing. I'll rearrange to let you in and I'll be your historian and you'll be mine. And I'll fill pages of scribbled ink, hoping the words carry meaning. Lucy Dacus is done thinking small.

Two years after her debut, No Burden, won her unanimous acclaim as one of rock's most promising new voices, Dacus returns on March 2 with Historian, a remarkably assured track statement of intent.

It finds her unafraid to take on the big questions - the life-or-death reckonings, and the ones that just feel that way. It's a record full of bracing realizations, tearful declarations and moments of hard-won peace, expressed in lyrics that feel destined for countless yearbook quotes and first tattoos. Realizing that she would have a dramatically expanded audience for her second album, she felt an urgent call to make something worthwhile: She found solace in crafting a thoughtful narrative arc for Historian, writing a concept album about cautious optimism in the face of adversity, with thematic links between songs that reveal themselves on repeat listens.

The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut - an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.

The album opens with a striking three-track run. First comes "Night Shift," the only breakup song Dacus has ever written: There's nothing tentative about this opening sequence. Right away, it's clear that Dacus is on a new level of truth-telling and melodic grace. Using a call-and-response format, she wrestles with the question of how best to participate in a community broken by injustice and fear while staying true to what one believes is right.

Historian closes with two stunning songs: You can't avoid these things, so accept them. There's ways to go about it with grace and gratefulness," she says. You still love things, so it's going to hurt. But dark isn't bad. It's good to know that.

The rumors are true: boygenius, the band of Julien Baker,...
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