Review Score:
A
April 9th / 2025 –
If I walk away from an album either A.) feeling like I need to pick up an instrument and make something or B.) wishing that I could just be the artist, it’s usually a good sign. And I’m feeling major gender envy for Olivia Rodrigo post-her third studio album. I wish I could trade brains and/or lives with her for a bit. It’s a pretty one-sided trade but I’m sure she would at least be mildly amused by my cats for a day or two.
Most, if not all, of the Olivia Rodrigo songs that I enjoy are ones that click for me immediately. She’s usually good for three or four catchy, easy pop songs on an album. But while catchy, nothing about You Seem Pretty Sad for a Girl So in Love feels easy.
Olivia Rodrigo’s writing is definitely maturing. And she hasn’t sacrificed any of her charm to get to this point. Thematically, she’s the same artist. When she was writing about high school on her debut album, it was quaint to a listener like me, given that I was neither in high school nor a 17 year old girl at the time. She took another big step on her second album, and the third is her biggest to date. Songs like “The Cure” are the same Rodrigo cocktail we’re used to, but served by a bartender who’s a little more generous with the alcohol. It hits harder and lingers longer than “making the bed” or “the grudge” or whatever you’d consider its Guts counterpart to be. Her ability to find new words for old, familiar feelings is at an all time peak on this record.
Musically, I don’t know that I would say Olivia Rodrigo is doing anything new. But she’s always been very clear about her musical influences, and this time around is no different. She even included a featured artist on one of her projects for the first time: Robert Smith. It’s no coincidence. The Cure is clearly a significant inspiration to Rodrigo’s writing on this one, going well beyond their direct reference in the opening track. “u + me = <3” is the most “Cure” song she’s done yet. And credit for the production goes to her longtime collaborator Dan Nigro. But there are also traces of Lorde, and to an extent, Hayley Williams’ solo work (like on “cigarette smoke”).
So, while there isn’t a “get him back” level of song on this, I do think it’s her most consistent album yet. Pretty cool. Pretty good stuff, Olivia.
Good album.
Review Score:
A
Gubb wrote this review. You can’t get mad at Gubb.
Leave a Reply