Olivia Rodrigo, the Grammy laureate renowned for her 2021 chart-topper, “drivers license,” has just dropped her much-anticipated sophomore effort, “GUTS.” The album’s title is fitting, as Rodrigo fearlessly navigates her way through the tumultuous waters of stardom and her early twenties, all while displaying a remarkable depth of insight.
From the haunting piano ballad “vampire” to the playful yet reflective “bad idea right?” (maintaining the all-lowercase title tradition from her debut), “GUTS” oscillates between moments of unabashed pop-punk audacity and candid soul-baring.
However, beneath the catchy lead singles lies a treasure trove of musical gems. The album opener, “all-american bitch,” takes inspiration from a discarded quote found in Joan Didion’s “The White Album” essay collection. It’s a pop-punk piece that draws comparisons to the likes of Liz Phair or even the most obscure Rose Melberg record. Rodrigo wields irony and anger like weapons, declaring, “I’m grateful all the time / I’m sexy and I’m kind / I’m pretty when I cry.”
“pretty isn’t pretty” evokes the dreamy guitar tones reminiscent of The Cure, delivering a cutting commentary on the cost of unattainable beauty standards.
While you can hear echoes of your favorite rock bands throughout the album, Rodrigo’s unique style shines through. “ballad of a homeschooled girl” is punctuated with Pavement-like vibes and lyrics that could double as AOL away messages. Take your pick: “Searching ‘how to start a conversation?’ on a website (How to flirt?)” or “Thought your mom was your wife / Called you the wrong name twice / Can’t think of a third line.”
“the grudge” is born from the same creative well as “drivers license,” emerging as a courageous piano power ballad. In an era where many young pop stars rely on whisper-singing, which can sometimes stifle the emotional depth of their biggest hits, Rodrigo pushes the envelope. Rage and disappointment are her tools of choice, perhaps the most underutilized in pop and rock.
At the outset of her debut album, Rodrigo asked, “I’m so sick of 17 / Where’s my f—-ing teenage dream?” in “brutal.” On “GUTS,” she provides an answer in the closing track, “teenage dream”: “I’m sorry that I couldn’t always be your teenage dream,” she croons, a transformation from the young woman who turned getting a driver’s license into a global musical event. Could adolescence be any more damning?
While Rodrigo has often drawn comparisons to her musical predecessor, Taylor Swift, the evidence on “GUTS” is sparse. Even in its weakest moments, like “get him back!,” the album still surpasses the best efforts of lesser artists. Notably, the line “I wanna meet your mom, just to tell her her son sucks” adds a humorous twist to the devastation.
Speaking about the album, Rodrigo noted, “For me, this album is about growing pains and trying to figure out who I am at this point in my life. I feel like I grew 10 years between the ages of 18 and 20 — it was such an intense period of awkwardness and change. I think that’s all just a natural part of growth, and hopefully the album reflects that.”
Once again, Rodrigo teamed up with her trusted collaborator, Dan Nigro, who produced her multiplatinum debut, “SOUR.” The album catapulted Rodrigo to stardom, earning her three Grammy Awards and the distinction of being the youngest solo artist to debut at No. 1 on the Billboard Hot 100.
Few forces are as potent as the dissatisfaction of a young creative woman, especially when she wields it with the finesse that Rodrigo does. For her, there was never any doubt. She just punctuates it with a laugh.
