On February 29, 2016, Phoebe Bridgers made a list of goals she wanted to achieve by the next leap year. They included: tour the world, see Ireland, make three albums. She’d never left the US. She’d never made a record. She was 21 and unsigned. Now she’s 25. She’s toured the world, including Ireland, and released three albums: one solo, one as boygenius with Lucy Dacus and Julien Baker, and one as Better Oblivion Community Center with Conor Oberst—her hero. “Dude!” she says, of revisiting the list on February 29, 2020. “It’s happened. They all became real in ways I couldn’t have imagined.” It’s mid-morning in LA, and Bridgers is calling while doing a lap of the local Silver Lake Reservoir. She’s California born and bred. She “ums” with every response, employs “later” for goodbye and admits to spending “$11 on smoothies on average per day.” She talks up astrology: She blames Mercury being in retrograde for feeling sick during a press This story is from Kinfolk Issue Thirty-six Buy Now Related Stories Design Issue 19 David Rager David Rager, co-founder of design firm Weekends, shares his tale of LA and Paris and how he makes time for life’s little distractions. Arts & Culture Music Issue 19 On a Grander Scale Malaysian singer-songwriter Yuna now may live on the opposite side of the globe, but she’s determined to evolve while staying true to her roots. Arts & Culture Music Issue 20 Bring It on Home: Leon Bridges From bussing tables to playing at the White House in under two years, Leon Bridges has no plans to part ways with his humble beginnings. Arts & Culture Music Issue 21 Variations on Solitude: Glenn Gould Three decades since his death, Canadian pianist Glenn Gould’s inner life endures with as much legend as his recordings. Arts & Culture Music Issue 22 Esperanza Spalding Esperanza Spalding continues to challenge expectations and classifications—particularly her own. Arts & Culture Music Rosie Lowe London-based singer Rosie Lowe talks to us about creative recharging, the power of songwriting and the vulnerability inherent in live performance.