A Review of "The Record"

     The term often employed to refer to Boygenius is that of "supergroup". I was, frankly, a bit taken aback about how willing every publication I'd seen was in deeming Phoebe Bridgers, Julien Baker, and Lucy Dacus with this honor. This is the type of terminology used to refer to LeBron James, Dwayne Wade, and Chris Bosh on The Heat. This is the title bestowed upon Traveling Wildburys when you have the creative forces of George Harrison parring with the lyrical genius of Tom Petty and Bob Dylan. Isn't it a tad premature to coin this band of rising stars a supergroup so nonchalantly? Upon listening to "The Record" I feel the title of supergroup is decidedly apt. Synergy is another term that is somewhat elusive in an exact definition. There are many groups of organized fitness classes and lifestyle gurus who will promise a path towards guided synergy that will end in an enhanced connection with all who you meet. However, there is a genuine bond that can be felt between Bridgers, Baker, and Dacus throughout this record that can not be fabricated or even valued by a monetary metric. I have not heard this level of harmony since Crosby, Stills, and Nash where all three singers with their inimitable styles intertwine over tight, complex intervals to pack extra emotion into every carefully crafted line. The songs carry deep meanings often tied into perfectly specific stories that shed light on the friendships, partnerships, and inner debates that dominate our three singers and songwriters head spaces.

    Perhaps, what's most impressive about this record is the way in which each artist gets an opportunity to shine. I vividly remember discovering Julien Baker, likely my Freshman year of high school. Her NPR Tiny Desk awoke something in me. I was already a huge fan of the program, but this particular entry was something special. There was something so raw, genuine, and effortless about every element of her performance. She strums a beautiful light blue electric guitar with a rainbow strap across her shoulder. In the comments people avidly debate whether this rainbow strap is meant to indicate that she's queer. This video was posted 7 years ago so that information was less readily available and, of course, more controversial. Upon rewatching it in preparation for this new Boygenius record, I was floored by how much I felt sucked back into that moment when I first fell so in love with Baker's signature guitar playing style, unfiltered lyrics, and powerful voice. Baker influenced a good amount of my songwriting around that point and encouraged me to be more fully honest with my lyrics. What I see in this most recent Boygenius record is that Baker has not only retained that same golden alchemy existent in her songwriting so many years ago, but has evolved to become a critical component consistently providing standout tracks when she is the most prominently featured artist. This can most clearly be heard and considered with "$20"and "Anti-curse".

    Here's where I'll go into the most unsung hero throughout the record, Lucy Dacus. Consequently, also where I'll find the most difficulty as I'm still processing my feelings on her pure, mellifluous tone with which she sings her gut-wrenchingly intimate lyrics. I can't say a song has truly stopped me in my tracks like "We're In Love". It is simply gorgeous. On this track, Boygenius steps aside and gives Dacus 4 minutes to perform her heart out on wax. It's a beautiful tale about love told through Dacus's distinctly inviting prism. "You could absolutely break my heart. That's how I know that we're in love" is the line that opens this journey that I strongly encourage you to join Dacus down. I've vacillated consistently throughout my listening process of this album internally debating hotly my favorite track. I'm not sure why I have such a fixation with ranking numerically or tier-style. "I feel crazy in ways I never say" to quote this song which I feel prepared to laud appropriately by placing it as my favorite track on "The Record". Other standouts where Dacus shines are "Leonard Cohen" where she sings "And I am not an old man having an existential crisis at a Buddhist monastery writing horny poetry". Hopefully you agree with me that she has quite a way with words and always delivers them with the perfect amount of laid-back retrospection. 

    It's time to talk about the LeBron James of this supergroup, Phoebe Bridgers. She's an all-star. There's no real debate. I will not lie. As any 22 year old male musician with some dream of eventually making it, I do hold some resentments towards the hottest artists on the scene dominating the streaming services. While I still can't stand a Charlie Puth (though he used to make absolute bops) type, Bridgers deserves nothing but respect and admiration. She is immensely talented. Her skills as an instrumentalist are greatly under-appreciated. Her guitar playing in many ways serves as the bedrock for this album with her clear and distinct feel for strumming and finger-style picking. This plays second fiddle to her voice. She has the unique ability to simultaneously evoke deep feelings with her tone while also allowing its strength and low tenor to make the listeners feel "mellow". I employ quotation marks here to reference the closer, "Letters To An Old Poet", another breakout track. If I were still in the ranking mood, which I almost always am, I'd hesitantly lock this one in at #2. This is Bridgers at her best. Her delivery and placement is perfect. Her melodic choices feel inspired. The harmonies here are sparse but additive. The sentiments are refreshingly provocative and honest. It shouldn't be so rare that a woman puts her partner in check by bluntly saying "You're not special, you're evil. You don't get to tell me to calm down. You make me feel like an equal, but I'm better than you and you should know that by now". This is the alt-folk way of saying "it's about damn time". It is. Boygenius could be telling several artists that spend time on the airwaves that they're better than them and it should be known by now. 

    One of the most captivating elements throughout this record is the blurring of gendered language and behavior as Bridgers, Baker, and Dacus defy in someways the antiquated stereotypes held for females. The band is all queer to varying degrees and don't shy away from their more "masculine" tendencies. There's a bravado that pervades this record even in its most quiet moments. Boygenius has not shied away from paying reverence to iconic bands from the past such as Crosby, Stills and Nash and Nirvana by recreating some of their most ubiquitous photos. Bridgers, Baker, and Dacus are not unflinching in taking up the space they deserve. They're immensely talented with voices that are as pleasing to listen to as they are horizon broadening in the ideas they present. I am grateful for this record and appreciative of the hard work that went into celebrating every aspect of it so that this listener and reviewer can do so as well. If I were to put a numeric value on it I'd likely give it a 9/10. However, I could easily see with time and more re-listens moving that rating up to a 10/10. This is the most exciting album of the year since Lil Yachty's "Let's Start Here." and I am so excited to see what future and solo releases Boygenius gifts us in the future!