A radiant Phoebe Bridgers opens the BBK Live festival

• BBK Live A festival for families in Bilbao

The song

talks about not being able to get emotional about anything, feeling disconnected from the world, talks about apathy and depression without tears, and about an alcoholic father who spent years without talking to his family after an ugly, ugly divorce in the context of divorce.

Thanks to that song,

was nominated for two of the four

she was nominated for last year and, to a large extent, it was thanks to her that she became a sales phenomenon in the US and UK and in new Cinderella of indie pop.

Phoebe Bridgers looks radiant this afternoon, very elegant from her black dress pants to her unshaven armpits, with black glasses for the sunset sun that rises from her right shoulder as the clouds clear over

, the green mountain next to

where it is celebrated until Saturday the

.

She dedicates Kyoto to all the fathers in the audience and sings her cheerful melody while the lightly charged electric guitar conveys energy and relaxation at the same time.

That pop like the

.

Everything produces a pleasant feeling of well-being in the celebration of returning to the festival, after two consecutive cancellations in 2020 and 2021 due to covid.

But underneath the song runs the underground source of pain that defines the music of Bridgers and, by extension, of a whole generation of pop and rock singer-songwriters who have coincided in recent years in the US and who are defining the new identity of the indie sound and that apply literary autofiction to songs.

The young artist, 27, no longer dons her skeleton costume to perform, now her entire group does, but the ghosts that illustrated her first album often seem to hover between her songs.

Her live sound, as it happens on her records, has the dreamy texture of psychedelia.

Just as in her lyrics, the singer-songwriter from Los Angeles speaks with subtle lyrical power about fleeing from reality and about being absorbed in melancholy, about feeling that there is a dissociation between her inner storm and what is happening outside, a bit like in a Ottessa Moshfegh's story, her music also evokes an inner escape and a kind of private limbo.

It stands to reason that one of Bridgers' idols is

, the musician who brilliantly refined songwriting two decades ago with an indie rock sound, but committed suicide by stabbing himself in the chest with a knife in 2003. Sunset plummets and she's playing

, the title track from her successful second album, in which she imagines a conversation with Elliott Smith as a slightly obsessive, slightly oppressive fan: there's the dented relationships and the self-pity , even self-loathing, or just insecurity, paralyzing reactions and the echo of self-destructive thoughts.

Their short concert is over and, oh, Phoebe Bridgers, you have sweetly broken our hearts.

It was not the only example on the first day of BBK Live of the new generation of US singer songwriters.

Precisely this Thursday

and

also acted , much more interesting the first.

In her author's pop we also find the confessional will and the electric guitars of the indie tradition.

And some songs rounder than a doughnut, hits of our time like

, with which she started her solid concert.

The BBK Live expects to add more than 100,000 attendees in its three days.

The venue in a formidable meadow also hosts this Thursday the concerts of

in a night that promises to be as long as it is demanding for the hips and knees.

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