With Magnolias, Bridges offers a thumping spin on late-90s and early-00s R&B, his lyrics dripping with carnality. Lead single Motorbike, however, is a tender, sensual ballad that coasts on ethereal guitar, Bridges’ honeyed vocals shining. On Why Don’t You Touch Me, its music walking a forlorn line across country and contemporary R&B, Bridges agonises over a lack of physical touch that seems to foreshadow the end of a relationship. Every song seems to answer critics who claimed his early work lacked originality and suffered from emotional naivety. He slept in the hotel, drank and socialised at the bar, and composed Gold-Diggers Sound in these studios.Ī remarkable and progressive R&B album, Gold-Diggers Sound has the most eclectic compositions of Bridges’ career, as well as his most emotionally transparent songwriting. And for several months in 2019, this was home. Although Bridges plans to remain in Fort Worth, his body language suggests he feels at home here in California. When he picks up an acoustic guitar, however, he becomes talkative and relaxed, lightly plucking the strings between words.
Blue Mesas was that feeling of loneliness even in the midst of people that love me.”Īt the beginning of our conversation, Bridges struggles to answer questions at length, having just done several telephone interviews. And then, as someone with insecurities about my physical appearance, being thrown in the limelight, and having to deal with that. “Number one, losing my anonymity in my home town was tough. Initially, it was rough for me,” he says. “There’s a solitude and weight that comes with gaining a little bit of success and notoriety. Initially, it was rough for meīlue Mesas, the song that closes his new album, Gold-Diggers Sound, reflects on that period over sombre violin. I would randomly just burst out in tears in front of my friends, and I’m grateful helped me work through it.” There's a solitude and weight that comes with gaining success.
“This was just an accumulation of all of these feelings – feeling like I don’t deserve to be here or I’m not handsome enough or a good enough singer. Though Bridges is generally in a “healthy mental space today”, there was a period between Coming Home and his second album, Good Thing, released in 2018, when the speed of his success led to depression.
My transition was dishwasher one day and being somewhat of a star. The 20-minute clip, directed by Academy Award-nominated cinematographer Bradford Young, celebrates Bridges’ “music, Blackness, Texas and his Southern heritage” and is available exclusively on Apple Music.More accolades were to come, but Bridges says he’s spent much of his six-year career “coming to grips with my reality. To accompany the album, Bridges also unveiled a short film in July. It was all for the love of R&B and musicianship.” and waking up with coffee and getting to work at 10 p.m. We would be finishing our tequilas at 10 a.m. “We effortlessly moved from the dance floor to the studio. “I spent two years jamming in what often felt like a musician’s paradise,” Bridges said in a statement. It features appearances from Terrace Martin, Robert Glasper, and Ink. The album was executive-produced by Bridges and Ricky Reed, and produced by Reed and Nate Mercereau. Gold-Diggers Sound, Bridges’ third album, dropped earlier this summer.
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