YOU SEEM PRETTY INCREDIBLE FOR A GIRL WHO IS 23
Olivia Rodrigo is, in my opinion, one of the most important pop stars of our generation. Sure, people knew she had something special with “driver’s license,” and the public generally enjoys both SOUR and GUTS. But she’s leading a charge that goes far beyond her own career.
you seem pretty sad for a girl so in love will be the album that changes Olivia Rodrigo’s reputation for the better. I personally adored the teenage melodrama of her first two records. Yet, LP3 is in a different stratosphere, mostly because the stakes feel higher this time. Between a long-distance relationship and gripes with her own artistry, it’s a picture she wouldn’t have been able to paint until now.
The shift in focus comes with a change in sound. Olivia has always sung her praises to the ‘80s, highlighting Fleetwood Mac and The Cure as inspirations. This album embraces their sound palette as well, creating an experience that’s just so lush. She’s not sticking to the commercially-safe options either. Rodrigo gets weird in a few places here and the project is better for it.
Take “expectations,” for example. I’m not the first person to draw the Devo comparisons, but it’s a good reference point. The brash lyricism, tied with the experimental instrumentation and monotone chants on the bridge echo their output. Or we can turn to “the cure,” a devastating slow burn that’s more Fiona Apple than a Top 40 hit. These are songs the average pop audience wouldn’t seek out on their own. The fact that Olivia is pioneering these unconventional tracks and succeeding with them is fascinating.
Then there’s the concept of this album. Following her relationship with Louis Partridge, we get to see everything from the first date to the final goodbye. The butterflies found in “drop dead,” “stupid song” and “u + me = <3” are cute enough, until they are crushed under the weight of “cigarette smoke.” Side A and Side B couldn’t be more different, but the lovely red fading to a dreary blue on “purple” makes that transition feel seamless. It’s just all so smart.
The excellence of this project is only possible thanks to her collaborators. The first and foremost man to mention is Dan Nigro. He’s been Olivia’s producer going on six years now, and they are a match made in heaven. His years in the rock scene give an edge, but I think Rodrigo’s pop sensibilities have rubbed off on him as well. They’ve consistently made each other better across every album.
However, I think the biggest assist on this project comes from one of Olivia’s idols, Mr. Robert Smith. He gives a great performance on “what’s wrong with me,” though his bigger influence comes in changes that we won’t hear as fans. Olivia mentioned in multiple interviews that Robert invited her to the studio to make adjustments on some songs. She’s said his input is what made certain moments click.
Her admiration for Smith, and the older rock scene as a whole, is why I find Rodrigo to be the most important pop star of our generation. She’s leading a legacy that doesn’t follow trends or give in to the masses. In an era where artists are being sensitized to appeal to everyone, she’s throwing that notion to the wind. All of her ticket sales send portions back to women’s charities. She’s hosting a music festival to platform the most influential female artists of the last 50 years. Every one of her promotional materials has been hand made by humans, fighting back against the AI-generated slop that is ruining this industry. No one is doing it quite like her.
A friend introduced me to “driver’s license” during a late night coffee run. In the six years since, I have bought all three of her records, seen her live twice and ultimately fallen in love with her work. As I figure out what life looks like at 23, it’s good to see someone my age take the world by storm. The memories may have gone dark, but Olivia Rodrigo continues to shine like a star.
