WME's Josh Javor unpacks Phoebe Bridgers' rise and the future of phone-free gigs

Phoebe Bridgers is embarking on a significant chapter in her live performance career, marked by a carefully paced progression and innovative audience engagement strategies. The American singer-songwriter, who recently secured her first UK No.1 solo album with Lost Weekend, is poised to headline the 2027 All Points East festival in London’s Victoria Park, solidifying her status as a major live act.

Before this festival appearance, Bridgers is set to take The Lost Tour across Europe, with arena shows scheduled in the UK and Ireland, including two consecutive nights at the renowned O2 Arena in December. Additional stops include major venues in France, Belgium, the Netherlands, Germany, Denmark, and Sweden. This extensive run represents an important step in her live career development following a period of disruption caused by the global pandemic.

Josh Javor, a partner and head of London Music at WME, has been closely involved with Bridgers’ touring journey. He notes that her rise was accelerated by the unique circumstances of the pandemic, which effectively bypassed the traditional incremental venue scale progression. Bridgers gained momentum just before Covid-19 restrictions took hold and emerged from the hiatus at a level beyond the typical trajectory, prompting a recalibration of her live engagements.

A pivotal moment in this recalibration was Bridgers’ four-night sold-out residency at London’s O2 Academy Brixton in July 2022. Javor emphasizes that this choice aligned with her readiness to perform at arena capacity, as the cumulative attendance over the four nights paralleled what a single arena show would attract. This strategic timing allowed Bridgers to cultivate her audience organically without rushing the transition to larger venues.

In addition to traditional touring milestones, Bridgers has introduced an unconventional approach to concert experiences by instituting a phone-free policy during The Lost Tour. Attendees are asked to secure their mobile devices in lockable pouches provided at the venue, limiting distractions and enhancing focus on the performance. Javor highlights that this approach originated from Bridgers’ desire to prevent unauthorized recordings of unreleased material and has evolved into a broader commitment to immersive, technology-free shows.

This phone-free format aligns with a growing, though still niche, movement among artists seeking to create more direct and intimate connections with their audiences. While historic precedents exist—artists like Prince, Bob Dylan, and Jack White have experimented with similar policies—Javor does not anticipate widespread adoption due to the financial and logistical burdens involved. The cost of implementing such measures can be prohibitive for many acts, despite examples like Coldplay’s use of wristband technology to control phone usage during concerts.

Alongside her touring activities, Bridgers has also recently released a new EP, Live At Madison Square Garden, exclusively through Tidal. This release captures a live performance at one of the world’s most iconic venues, further cementing her reputation as a compelling live artist.

Bridgers’ trajectory illustrates a modern pathway for emerging artists navigating a transformed live music landscape shaped by pandemic interruptions and evolving audience expectations. Her ability to maintain artistic integrity while embracing innovative concert formats positions her as a notable figure in contemporary music touring.

As Bridgers continues to headline major festivals and expand her arena presence, her career offers insights into how artists can successfully adapt to rapid changes and build sustainable momentum. The integration of phone-free shows also prompts ongoing discussions about how live music experiences might evolve to balance fan engagement, artistic control, and technological realities.

Details about Bridgers’ future projects beyond the announced tours and festival appearances remain limited, but her current momentum suggests that 2027 will be a defining year in her live performance career.