Lucy Dacus' 'Home Video' Plays Like a Brilliant Coming of Age Memoir

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Lucy Dacus’ ‘Home Video’ is a cohesive and poignant collection of tales from her teenage years in Richmond, Virginia — the best album of her career. Read our review.

with a startling admission: “The first time I tasted somebody else’s spit, I had a coughing fit.” That line was followed by six minutes of eviscerating lyrics and guitar riffs, making for a towering indie-rock moment right up there with the best of Paul Westerberg and Liz Phair — and “Night Shift” was just the first song on the album.whether it’s “In the summer of ’07/I was sure I’d go to heaven” or “When I asked you to coffee/ Could you tell I don’t drink it?” .

Dacus navigates through early romances, contemplates religion, and fiercely protects her friends — all with wide-eyed maturity and small-town realness. Although these are past recollections, she places them into the present, like retrieving moments from a diary and bravely re-enacting them in front of a crowd.

On the devastating ballad “Thumbs,” Dacus breaks down a day in college, when she accompanied a friend to see their estranged father. She slowly unravels the encounter and begins to fantasize about murdering him. She takes it down a notch on “Christine,” but maintains a passionate stance on friendship — especially when her friend’s settling for something less: “But if you get married, I’d object/Throw my shoe at the altar and lose your respect,” she admits.

Dacus uses fruit as a motif several times on the record, presumably to symbolize temptation. She eats cherries on a bridge in “Partner In Crime,” using Auto-Tune to process lying about her age to an older boy. She compares secrets to peach pits on “VBS,” the album’s highlight, where she goes to bible camp and falls for someone who snorts nutmeg in their bunk bed and blasts Slayer.

Dacus appeared on both of her Boygenius bandmates’ recent albums — joining Bridgers for “Graceland Too” and Baker’s for “Favor” — and here the three singer-songwriters complete the trilogy on the tender “Please Stay.” Their harmonies lean into the acoustic guitar as Dacus describes a partner’s unkempt home, with clothes in the dryer and dirty dishes in the sink. “Please don’t make me see these things,” she pleads, not wanting an illusion to be broken.

 

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