But to judge by Lost Weekend’s opening track, all was not well. The Outside depicts the singer crowd-surfing at a gig in Ohio – “they never let me hit the ground, way beyond the barricade” – and ending a song with her fist triumphantly raised. Then it adds a qualifier. “But I was on the outside, watching,” she sings, the sense of dislocation heightened by the fact that her voice is smothered by a vocoder, and the musical accompaniment – a sweet fingerpicked acoustic guitar figure – keeps vanishing into an ambient backing that sounds like static.

It acts as a signpost to the rest of Lost Weekend, musically and lyrically. There is a lot of emotional turmoil in the latter, largely occasioned by the death of her father, with whom Bridgers had a strained relationship – though the album is dedicated “For Dad” – and the collapse of her high-profile relationship with actor Paul Mescal: the title track confirms that they were, as rumoured, engaged (“I’m supposed to be married but I called it off”). If you’re the kind of person who gets their kicks combing new albums for celebrity gossip, there’s plenty here to occupy you, not least a line in The Governor’s Waltz that could be interpreted as a swipe at Mescal’s current partner, Gracie Abrams (“she can pretend to be me / Since she took my place in my bed, on that stage”).