As the fifth single from her third album, New Avatar, “The Bridge” doesn’t have as much pressure to be “a certain way” as, say, the first two singles, “Idea 1” and “Linknb.” Maybe that’s part of what adds to its overall “chill vibes.” This in addition to PinkPantheress also featuring on the track. And, of course, this isn’t the first time the two have worked together, with 2023’s “Bury Me” (from PinkPantheress’ debut studio album, Heaven Knows) marking their debut collaboration. This after Kelala was told by the internet (a.k.a. Twitter) that she “had a daughter, like Kelela had a baby.” And that “baby” was PinkPantheress.
For, as Kelala herself puts it, “She’s her own artist and she’s incredible. Like singular voice, but I could hear myself in [her music].” And when their voices combine, the effect of that similarity is nothing short of being like angels singing from atop a cloud. Of course, angels probably wouldn’t sing so raunchily, for “The Bridge” is definitely a boudoir/“get yourself in the mood” kind of anthem.
To reflect that sound, the video, directed by Yasser Abubeker, has a particular sort of sultry, moody ambience, complete with its dark blue cinematography. Yet, despite the “blue mood” coloring, there’s a sweltering, hot quality to the visuals, and, of course, the people in them. As for the reason why it’s dark, well, there’s a lunar eclipse going on (thus, a well-timed video to coincide with the death of “‘Total of Eclipse of the Heart’ singer” Bonnie Tyler). This made known in the very first frame as the moon covers the sun, after which Abubeker cuts to two different same-sex couples (and then one single person arching their back off the balcony, as if to say being single makes you want to commit suicide) before offering a close-up shot on Kelala’s face.
Her body will then often be framed against the backdrop of this eclipse (indeed, there are moments when it recalls the single cover artwork for FKA Twigs’ “Killer”). Including an instantly iconic shot of her standing in silhouette with a floor-to-ceiling set of windows behind her and an indoor pool in front of her that creates a mirror image. To this point, Kelala was sure to note of Abubeker’s meticulousness, “This man’s shot lists be making me cry lol. One day I will have to share the level of detail that goes into every 👏 single 👏 frame 👏.”
And as Abubeker eases the viewer into those details, Kelala eases the listener into the opening verse, already ripe with sensuality: “It’s what we don’t say/Your eyes, they look away/Now we goin’ ‘round and ‘round/Leavin’ me to figure out/With you, it’s a game.” The vibe of “stolen looks” and “cautious flirtation” only builds upon the aim of the song’s sexual tension. Until it allows itself to explode with the chorus, “First time, so right/My nook, all night/You in red light/Will you? I might/One touch, I’m light/Headed, no sight/Don’t be so polite/Will you? I might.”
As for the title of the track, it comes from Kelala urging, “We’re on the bridge/Give up the fight.” The symbolism of a bridge being both sexual in nature (though, please, try not to think of “the stink bridge”: the perineum) and speaking to the idea that once you’re on a bridge, you’ve already crossed a certain threshold and you might as well keep going. Hence, Kelala gushing, “It’s bliss when we cross the line/The line, the line, the line/The line, the line, the line.” Herself a queer woman, this video is joyful celebration of that queerness and, indeed, at a certain point, it looks like she and PinkPantheress might start scissoring as a result of this song’s, uh, groove.
But prior to that vibe making itself known, there’s much more visual buildup well before PinkPantheress even enters the frame to sing her verse (in slight tandem with Kelala, whose vocals occasionally flicker in), “Fix yourself then make your way to me, nightly/Spare my eyes, I fear I get no sleep, ah-ah/I can maybe give you a second, maybe a minute/Are you seein’ black holes?/Baby, tell me if you’re reachin’ your limit/Tell me, baby/You watch me push these buttons for you/Baby, come let me explore ya/Even when you say you regret it, you make it so obvious/Let me solve this issue for us.”
And the way to fix it, of course, is through some body-to-body contact (a far cry from the cultural message that was pervading most of 2020-2022). Of which there is plenty more to show as lightning storms form in the sky (a reflection of the irascible weather this summer, as brought on by various heatwaves throughout the globe). The sun being blocked out by the moon also continues to add to the “illicit”/“free for all” aura that everyone appears to be tapping into as they get increasingly hypersexual.
When the sun reappears at the end of the video, removed from its “blackout” state once the moon gets on its way again, there is only Kelala in that silhouetted shot in front of the pool. Almost as if the “spell” of eroticism has been lifted once the moon, ergo the eclipse, is. But, who knows, perhaps the sweaty bodies will keep converging long after this astronomical event. Especially if “The Bridge” keeps playing.
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