Live Review: Phoebe Bridgers at The Intuit Dome

Halloween is usually associated with costumes, elaborate decorations, and all things spooky, but this year, thousands of music fans had another reason to celebrate. Phoebe Bridgers returned to Southern California for three sold-out performances at the Intuit Dome in Inglewood, bringing her Lost Tour to the region where her musical journey began. The second night of the three-show run happened to fall on Halloween, making an already special homecoming a fitting occasion for an artist whose music has long explored darker emotions, haunting memories, and the complexities of human relationships.

Adding another interesting element to the evening was the concert’s strict no-phone policy. Upon entering the venue, attendees were required to secure their phones in locked pouches for the duration of the performance, creating an unusual environment for an arena concert in 2026. At a time when recording and sharing live performances has become second nature, the policy meant that thousands of fans would experience Bridgers’ performance without the familiar sea of glowing screens. As the evening progressed, the decision proved worthwhile, with an audience that appeared completely invested in the performances unfolding before them.

Bridgers has built a career around turning deeply personal experiences into songs that balance vulnerability, dark humor, and emotional honesty. From the stripped-back arrangements of Stranger in the Alps to the more expansive sound of Punisher, her music has continued to evolve while maintaining the intimate storytelling at its core. With her latest album, Lost Weekend, Bridgers expands on that foundation, bringing a new collection of songs to the stage alongside the material that first connected her with audiences.

The evening’s festivities began around 7:30 p.m. with Alex G, the Pennsylvania-born musician whose distinctive blend of indie rock, folk, and experimental songwriting has earned him a dedicated following. In 2025, he released Headlights, his tenth studio album and major-label debut, further expanding a catalog known for its unconventional arrangements and surreal storytelling.

For the Halloween performance, Alex G and his entire band embraced the occasion by sporting matching pink wigs. Performing on Bridgers’ circular secondary stage, the musicians were surrounded by vertical light posts that flashed in synchronization with the music. Suspended above them was an enormous spherical lighting fixture that projected beams through the surrounding haze, creating an almost otherworldly atmosphere.

Alex G was clearly having fun with the holiday. Throughout the performance, he repeatedly introduced himself as Dracula, eventually joking that he was “Drunkula.” He also took several opportunities to thank Bridgers for inviting him on tour. The Halloween festivities extended into the music itself, with the band incorporating “Monster Mash” and the familiar theme from Halloween into the set, adding some lighthearted moments to an otherwise musically varied performance.

Among the highlights were “Beam Me Up” and “Afterlife,” both from Headlights. The songs demonstrated Alex G’s ability to balance accessible melodies with the slightly off-kilter musical choices that have become a defining characteristic of his work. Perhaps the most unexpected moment came toward the end of the set, when Alex G and his band performed two consecutive Coldplay covers, “Clocks” and “Yellow.” It was an entertaining way to conclude a performance that never took itself too seriously.

Following Alex G’s set, the Halloween festivities continued with a costume contest featuring three audience members. The crowd determined the winners through applause and cheers, with prizes including merchandise, money and signed CDs. Although all three contestants walked away with prizes, the evening’s top honor went to a particularly memorable costume inspired by the Goodyear Blimp.

When it came time for Bridgers to perform, the elaborate production immediately established a different atmosphere. The main stage was framed by an enormous gray velvet curtain, with a large suspended dome positioned at its center. The structure served as a projection surface throughout the evening, displaying celestial imagery and colorful lighting effects that complemented the music.

Bridgers opened with “The Outside,” a heavily processed, vocoder-driven track that recalled the ethereal electronic textures of artists such as Imogen Heap. Rather than immediately revealing herself, she remained hidden as countless lights embedded within the spherical fixture above the secondary stage illuminated in a soft seafoam-green hue, pulsing in time with her vocals. The mysterious introduction quickly gave way to excitement when she launched into “Motion Sickness,” prompting an eruption of cheers throughout the arena.

As the enormous dome lifted to reveal Bridgers and her accompanying musicians, the audience caught its first glimpse of her Halloween costume, inspired by Laura Palmer from Twin Peaks. Live string musicians added richness to the arrangements, helping familiar songs take on a grander scale without sacrificing their emotional weight.

The production continued to evolve throughout the performance. During “The Governor’s Waltz,” an enormous image of Jupiter appeared across the underside of the dome, giving the stage the appearance of a miniature planetarium. “Lost Boys” introduced a completely different color palette, with the spherical lighting fixture washing the arena in soft shades of pink, orange, and yellow reminiscent of rainbow sherbet. Later, “Moon Song” featured a large projection of the moon hovering above Bridgers and her band, while material from Punisher brought the familiar red and purple hues associated with the album’s artwork.

The concert’s secondary stage offered a different kind of intimacy. As Bridgers moved to the circular platform, beams of light cut through the surrounding haze, at times forming what resembled an inverted cone that enclosed her within a cage of light. During “Funeral,” she introduced the musicians accompanying her onstage, while “Graceland Too” featured projections of birds moving together in a flock across the lowered dome. These visual details helped give each portion of the concert its own identity without distracting from the music.

There has always been something compelling about Bridgers’ ability to make deeply personal experiences feel universal. That quality became particularly apparent before “Still Standing,” when she spoke about growing up in Pasadena and reflected on her complicated relationship with her father. Her willingness to share such personal experiences added another layer of meaning to the performance, with fans throughout the arena listening intently and visibly moved by the moment.

Despite the enormous size of the venue, Bridgers maintained a remarkable connection with the audience. She seemed to have the crowd in the palm of her hand, moving between personal reflections, quieter musical passages, and more expansive arrangements. Without phones competing for attention, the audience remained focused on the stage, singing along and embracing the emotional moments as enthusiastically as the louder ones.

One of the evening’s biggest surprises came when Bridgers welcomed her boygenius bandmates, Julien Baker and Lucy Dacus, to the stage. The unexpected reunion sent the audience into a frenzy as the trio performed “Not Strong Enough” and “Satanist,” the latter making its tour debut. Their combined vocals and unmistakable chemistry brought a different energy to the arena, offering a reminder of the musical relationship that has made boygenius such a beloved project. Baker and Dacus also returned for “I Know the End,” adding even more intensity to one of the evening’s most dramatic performances.

As the concert approached its conclusion, Bridgers returned for an encore that included “Lost Weekend (Reprise),” “Scott Street,” and “Never Going Back!” While the evening had already delivered plenty of memorable performances and unexpected guests, one of its most affecting moments came during “Scott Street.” Rather than keeping the audience in darkness, bright lights illuminated the arena, revealing thousands of faces throughout the venue.

The effect was simple but incredibly moving. Everywhere, audience members could be seen crying, smiling, hugging their friends, and singing along. With no phones raised to capture the moment, the attention shifted away from the stage and toward the people sharing the experience. It was a striking image that brought the evening’s phone-free policy full circle, demonstrating how something as simple as being able to see one another could make an already emotional performance feel even more personal.

Three sold-out nights at the Intuit Dome represented an impressive milestone for an artist whose music has often been defined by its intimate and deeply personal nature. Yet despite the elaborate production, enormous venue, and unexpected appearances, the most memorable parts of the evening were often the simplest. Bridgers managed to transform an arena filled with thousands of people into a space where vulnerability felt welcome, whether through her songwriting, her conversations with the audience, or the collective emotions shared throughout the night.

For a Halloween concert filled with costumes, celestial imagery, and a surprise boygenius reunion, the absence of phones may have been one of the evening’s most meaningful decisions. Rather than leaving with hundreds of videos documenting the performance, the audience left with something a little less tangible: the memory of being completely present for it.

Setlist

1. The Outside
2. Motion Sickness
3. Kill Me
4. The Governor’s Waltz
5. Lost Boys
6. DVD Menu
7. Garden Song
8. Moon Song
9. Liberty Tree
10. Panorama
11. Lost Weekend
12. Funeral
13. Graceland Too
14. Haunted
15. Still Standing
16. As Above
17. Bobby
18. On Video
19. Halloween (Tour debut)
20. I Can’t Wait (with Jackson Bridgers)
21. Not Strong Enough (with boygenius)
22. Satanist (with boygenius; tour debut)
23. Kyoto
24. I Know the End (with boygenius)

Encore

1. Lost Weekend (Reprise)
2. Scott Street
3. Never Going Back!