Are Lyrics Poetry?

By Jaclyn Huynh

Album Analysis of Phoebe Bridgers - Stranger in The Alps Part 1

The rhythm of music is produced by the blending of several instruments or notes, however the patterns seen in poetry that are used to specify how words are spoken aloud are different, as well as the meaning and symbolism also playing a big part. But are these key features actually that different? While some may argue that they are two entirely separate concepts, others may counter that they are actually quite similar. American singer-songwriter Phoebe Bridgers is an artist who beautifully executes both music and poetry in a flawless manner. Debuting in 2017 with her album, Stranger in the Alps, Bridgers curates a  collection of heart-sweeping melodies and guitar-oriented instrumentals, with a collection of intimate anecdotes demonstrating how much damage a relationship can cause over the long term. This album's main themes are death, guilt, depression, self-destruction, and many more gut-wrenching topics. In this article, we’ll be touching on the in depth analysis of Songs from Stranger In the Alps. Hopefully, this will provide a solid answer to the question; Are lyrics poetry?

The opening song, Smoke Signals, begins with Bridgers' quiet, compelling voice, and weary, lyrical guitar, slowly revealing fractures in her unsettling memories. It takes place during her relationship with her drummer, Marshall Vore. Phoebe addresses an unknown “you,”singing about someone who is no longer associated with her life. That raises a lot of questions, such as, “Who is this person? How did they get away? Are they dead?” This person has left an imprint on the singer, obliging her to address them in the second person. The chorus enacts as a cry for help, with the frequent usage of smoke signals  indicating assistance or a crisis. The "Pelicans circling," represent both care, tragedy, and death. The pelicans, smoke signals, and, "Burning rubbish out on the beach," are all metaphorical terms for being stranded on a desert island in need of help. Everything comes full circle. 

The common phrase, “bury the hatchet," is when two people will agree to forgive and forget; in other words, move on and to rid yourself of pain, or resentment. She expands on that phrase by saying, “it's comin' up lavender”. Bridgers makes it sound like the encounter produced something beautiful, with lavender symbolising purity, healing, and tranquillity. She is letting go of the past and allowing something positive—something serene, gentle, and graceful—to emerge in its place.

In the album's most streamed song, Motion Sickness, and one of the more ‘upbeat’ tracks, she writes about leaving an abusive relationship with her ex-partner. This track can essentially be deemed as a ‘diss track’ towards Ryan Adams, her previous boyfriend. The song allows Bridgers to express her hatred, lyrics containing the most ruthless of insults. An example would be in the lyrics, “Why do you sing with an English accent? / I guess it’s too late to change it now,” where Bridgers mocks Adams’ insincerity and deceptive nature. According to Bridgers, Adamstold her about how he dated her as he was bored when they met (“You said when you met me you were bored / You said when you met me you were bored”). The pair had met when Bridgers was 20 and when Adams’ was 39. This strikes the line, “And you, you were in a band when I was born,”  taunting the singer-songwriter, insinuating the message that she is half his age and holds the same amount of talent. The main preface of the song is the comparison of an abusive relationship to motion sickness; this metaphor refers to physical motion sickness, slowly becoming more and more emotional as it continues (“I have emotional motion sickness / Somebody roll the windows down,”). She goes on further about how the windows need to be rolled down, meaning that she needs some fresh air, as she is getting dizzy from all the ups and downs of her rough/ bumpy/ roller coaster relationship. This line itself is a beautiful representation of realistic abusive relationships, and how they build up over time. 

For one of the album's standout songs, Funeral, Bridgers debuted a lyric video before its release. In keeping in line with the albums’ theme, she sings about a close friend who died from a heroin overdose. This song portrays the anguishing, unavoidable depression, and extreme anxiety that follows a tragedy. “I do think about dying a lot. I feel like a lot of my friends, especially artists, are consumed with this idea of the inevitability of death.” Bridgers quotes on an interview with Genius. The song itself is filled with the confusion and despairing melancholy of losing a loved one.  The song talks about the psychological aspect of a love ones death, saying that she “blacked out in my car / And I woke up in my childhood bed,” relates to dissociation or “zoning out”. She feels disconnected to her mind, as if she is seeing herself in the third person, feeling detached to her physical body. Dissociation is a common trauma response for those with PTSD. The line “And I woke up in my childhood bed, Wishin' I was someone else, feelin' sorry for myself, When I remembered someone's kid is dead” she believes that the way she thinks is absurd, in a way that is “How can I feel sad? These parents’ just lost their kid.” The line itself truly tugs at the heartstrings because it is heavy, palpable, and real. The chorus begins with “Jesus Christ, I’m so blue all the time,” juxtaposes the line “I don’t believe in that stuff anymore,” implying that, given the circumstances, Phoebe no longer values religion. In addition to dream interpretations, it no longer provides fundamental meaning.

Demi Moore is the fourth track off Phoebe Bridgers album, Stranger in the Alps. The main theme of the song is how we frequently confuse sex and desirability with loneliness and melancholy. The opening line of the song is “Take a dirty picture babe / I can’t sleep and I miss your face”. It is seen as ‘ironic’ for many reasons. One of which is that the face in a dirty picture usually isn’t the focal point, but rather a desirable body part. This leads us to believe that this was accidental. A lot of people interpret this line as a ‘booty call’ however motivated by lonliness and a desperate need for connection. This symbolises that what this person wants is more than a hookup, something more with real and tender feelings. The next line “Tell me what you wanna do to me / Tell me what you'll do, please,” implies the feeling of seeking validation from someone else. The addition of the word “please” shows us her desperation. This is also highlighted in the chorus of the song “I don’t want to be alone anymore / I don’t want to be alone anymore,” Which is also a play on words with some people mistaking the lyrics as “I don’t want to be alone, Demi Moore.” The second chorus of the song “I don't wanna be stoned / I don't wanna be stoned anymore,” Is about the obsession of how we are perceived to society, constantly trying to satisfy everyone you encounter that it creates a numbing cycle. Bridgers’ implements thoughts such as How can you feel anything without validation? Especially the prejudice towards women. When you tell a guy you're not interested because he's making you uncomfortable, you're labelled a bitch. A guy will tell you that you aren't that attractive if he approaches you and you tell him you're not interested. When you're wearing shorts and a tank top, men will assume that your body is on display for them to comment on and cat call you. If you don't laugh at their crude or offensive jokes, you don't have a sense of humour. If you refuse to sleep with them, you are a prude, but if you do, you are a slut. Every circumstance is a lose-lose scenario. 

The fifth track of the album, Scott Street, explores reconnecting with people from our past. Co-written with her drummer, Marshall Vore, It is reminiscent of a stroll down Scott Street in Los Angeles with an old friend of Bridgers, where she is “feeling like a stranger, with an open heart, an open container.” This song talks about a yearning love, something that it ultimately unattainable. This also links back to the pain of young romance. That feeling that everyone has moved on and not feeling welcome in the place you felt you once owned. It’s about visiting your hometown after moving away and that weird feeling you get when reconnecting with someone you used to talk to all the time. It’s very much a tribute to Marshall as much of her work is. The first verse ends with the line “Spending money, and I earned it / When I'm lonely, that's when I'll burn it,” Which implies that Phoebe is falling victim to consumerism. In order to fill the hole or replace what is missing in their lives, people in the working class will impulsively spend money on goods they do not need. It is also referred to as "retail therapy." Bridgers sees this, like an alcoholic, as a coping method to numb the loneliness rather than dealing with her issues. "Don't be a stranger" is repeated at the end of the song, casually, almost as an afterthought, concluding a song full of significant but almost terribly numbing rumination. The song's overall theme—how bizarre and unsettling it is to encounter into someone who used to play a major role in your life—is reinforced by this.

These are only five of the album's ten songs; as you can see, it touches on a lot of complex, sombre, and unhappy subjects. But despite everything, Bridgers has done a near-perfect job of fusing poetry and lyrics. Beautifully written over its 45 minutes, Bridgers' album Stranger in the Alps demonstrates her genius in a gorgeous manner.