At times, the defining mood of the 2020s seems to be disassociation. The culture of these years will be remembered for lots of things that dulled and distracted the senses: easygoing country music, friendly AI chatbots, ketamine nasal sprays, conspiracy theories that were preferable to the truth, and droning podcasts about all of the above. Feeling is out; vibing is in.
But the case against this line of thinking is simple: Olivia Rodrigo.
In early 2021, the then–Disney star’s single “Drivers License” pierced the pandemic-weary zeitgeist like a geyser in a desert. The song’s soppy piano and screamed choruses served to interrupt the flow of any playlist by triggering the listener’s sympathy and, perhaps, alarm (Is she okay? Am I okay?). Her albums Sour (2021) and Guts (2023) flaunted clever wit and theater-kid poise with adventuresome work from the rock producer Dan Nigro—but the real asset was her ferocity. As she hopped between punk crunchiness and bedroom-pop intimacy, every trembling lyric was backed by palpable, well, guts.
Her third album, You Seem Pretty Sad for a Girl So in Love, makes that earlier work sound like kids’ stuff. That’s not to dismiss what she did before—she was bottling a particularly teenage form of spite, hot and thin like boiling water. Now that she’s all of 23 years old, the emotional brew is thicker and even messier. The album narrates what she has called her first “adult” relationship, and it was initially meant to be entirely made up of love songs. Then she and her guy broke up, and the work got darker. The result is a wild listening experience—so intense it verges on sickening.
She’s in unstable territory from the first moments of the lead track, “Drop Dead.” A synth riff evokes the wistfulness of a John Hughes movie, but it’s rhythmically shifty, like she’s about to bolt. Rodrigo sings about a first date in a slithering, secretive tone of voice—then starts stabbing one note over and over for the chorus. The effect is unnervingly happy. One imagines the narrator of the Proclaimers’ most maniacal hit undertaking their 500-mile journey with a double dose of Vyvanse.
Quite soon, Rodrigo is fully crashing out. “I feel right, I feel wrong, I feel totally insane,” she sings on the stunning “Stupid Song,” which sets the honeymoon phase to pulsing piano and galloping drums. The track apes the softly anthemic approach of U2, Coldplay, and the National—until all of that elegant uplift topples like an overly ambitious wedding cake. [...]
The starkly self-incriminating nature of those lyrics marks a nice evolution in the contemporary canon of heartbreak pop. Rodrigo came up under the influence of Taylor Swift, who taught a generation of singers how to write post-breakup disses lightly dashed with antiheroic confessions. But now Rodrigo is pulling at a thread underlying the modern crisis of young romance: the way that dating has become bound up with goal-seeking and social performance. The album opens with her stalking the perfect guy on her phone; midway through the track list, she has the relationship she dreamed of yet is still unable to feel secure. The villain isn’t only her man—it’s also “all the pretty girls in the foreground of my mind,” as she sings in “The Cure.”
As she explores these tensions, Rodrigo portrays herself as straining against the confines of her art form: She wants her man “more than any stupid song could ever say,” and she warns that “it’s too hard to describe this / In a way that feels honest.” But really, she’s quite adept at getting her point across, combining vivid anecdotes (a cry on the curb at LAX), fascinating inflections (full-abandon yodels, facetious sultriness), and highbrow crudity (“They say modern love’s a cruel endeavor / And to that I say, ‘Fuck it, whatever!’”).
by Spencer Kornhaber, The Atlantic | Read more:
Videos: YouTube
[ed. She's smart and talented and is going to have a great career.]
