Craig Jenkins reviews 'Lost Weekend,' an album "as lacerating as her breakthrough."
 

AUGUST 14, 2026

 

ALBUM REVIEW

Phoebe Bridgers Is More Vulnerable Than Ever Intense fame could’ve made the singer a more cautious writer, but her third album is as lacerating as her breakthrough. 

By Craig Jenkins

Photo: Phoebe Bridgers/YouTube

Lost Weekend, a 1944 novel by author Charles R. Jackson, chronicled a writer’s rapid decline and redemption in the shadow of gripping alcoholism. The term has come to refer to any period of recklessness a person may not be able or want to remember, like John Lennon’s bender with Harry Nilsson during a year-and-a-half separation from Yoko Ono in the ’70s. Phoebe Bridgers borrows the title for her third album, a candid assessment of her failures, an intriguing batch of images and allegories, and a careful expansion of her musical wheelhouse, making for a follow-up that is every bit as painstakingly potent as her breakthrough, 2020’s Punisher. That album perfectly matched the spirit of a tumultuous year, as she sang about feeling trapped in her depression, fear, and insecurities. Amid growing renown for her diaristic songwriting and relationships (she was engaged to actor Paul Mescal and is now dating comedian Bo Burnham), Bridgers formed the indie supergroup Boygenius with kindred spirits Julien Baker and Lucy Dacus. A season as a supporting character fed (a little) less of her life to gossip authorities, but tons of people who’ve never met her still feel like experts on her life and motivations. Lost Weekend suggests it took time and distance to tell the story of her 2020s right. It’s a highlight of 2026.

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