Olivia Rodrigo doesn’t back down with “Guts”
Amidst the interplay of shimmering guitars and a mournful piano melody, a track from Olivia Rodrigo's second album, titled "Making the Bed," paints a somber portrait of the trappings of fame. She candidly confesses, "I wanted it so I got it," but swiftly acknowledges that it came at a price she hadn't anticipated: being treated as "a tourist attraction" and plagued by nightmares where she's in a car with no brakes, unable to swerve off the perilous path. The raw realism of her words is underscored by her self-reflection, where she grapples with self-loathing for her perceived ingratitude and worries that she might be "playing the victim." It's a portrayal that resonates deeply, in part because Rodrigo appears to be intimately acquainted with the subject matter.
Her debut album from 2021, "Sour," was nothing short of a phenomenon. It shattered sales records, clinched Grammy awards, and catapulted her into the exclusive realm of pop's elite alongside the likes of Ed Sheeran, Harry Styles, and Taylor Swift. In this rarefied air, albums don't merely make a splash upon release; they endure for years. "Making the Bed" is set to join the ranks of this enduring success, entering the Top 20 while "Sour" continues to hold its ground.
The success of Olivia Rodrigo's music wasn't entirely unexpected. In a music landscape where Billie Eilish had already emerged as a voice for teenagers, addressing relatable themes without the backdrop of Hollywood romance or supermodel drama, Rodrigo's songs simplified matters even further. Her music stripped away the avant-garde electronic elements of Eilish's sound and the gothic horror themes in her lyrics, opting instead for grand ballads and polished pop-punk. This musical universe drew inspiration from the likes of Avril Lavigne's "Let Go" and Pink's "Missundaztood," occupying a space where these albums held the same influence as the Stooges' and the New York Dolls' debut albums did during the punk era.
The song titles on Rodrigo's album read like double-underlined phrases in a teenager's diary: "Guts" includes tracks like "Get Him Back!," "Pretty Isn't Pretty," "Bad Idea Right?," and "Love Is Embarrassing." In interviews, any insinuations that her songs are about fellow celebrities are deftly dismissed. For instance, despite persistent rumors that the lead single "Vampire" from "Guts" was aimed at Taylor Swift, who received 50% of the songwriting credits for Rodrigo's "Deja Vu" due to similarities with Swift's "Cruel Summer," Rodrigo prefers to present music that resonates with her audience's daily lives rather than transmitting acerbic messages from a distant world of stars.
The sound of "Guts" is notably edgier than its predecessor, seemingly taking cues from "Sour's" Elvis Costello-inspired opener "Brutal." The album features more distorted guitars, a live ambiance highlighted by count-ins and band discussions about their next song, hints of grunge-era alternative rock in tracks like "Ballad of a Homeschooled Girl," and a sprinkle of sprechgesang vocals that might evoke comparisons to Wet Leg. However, when combined with the lumbering syncopated rhythm and the massed-vocal chorus of "Get Him Back!," these elements more vividly conjure the specter of early 2000s rap-rock.
What's most striking is how Olivia Rodrigo hasn't let global stardom pull her away from the topics that resonate deeply with her fanbase. While "Making the Bed" provides a poignant glimpse into the challenges of fame, it stands as an exception. Throughout "Guts," Rodrigo continues to delve into a spectrum of adolescent concerns that are close to her fans' hearts.
These themes include grappling with social awkwardness, as heard in "Ballad of a Homeschooled Girl," navigating the pain of romantic rejection in "The Grudge," dealing with seemingly perfect love rivals, personified by the Jolene-esque character of Lacy, and recounting a series of tumultuous relationships that range from being dangerously irresistible (as in "Bad Idea Right?") to confrontations with patronizing older partners. In "Logical," Rodrigo asserts herself with the lyrics, "I was too young, I was too soft, can't take a joke, can't get you off," capturing the essence of her personal journey and relatable experiences.
Another remarkable aspect of Olivia Rodrigo's work is the sharpness of her lyrics, which often lurk behind a seemingly casual conversational exterior. The only exception to this finely honed lyrical craft might be "Pretty Isn't Pretty," which addresses beauty standards in a somewhat predictable manner. However, throughout the rest of her songs, Rodrigo demonstrates a remarkable wit. For example, in "Bad Idea Right?," she cleverly quips, "I told my friends I was asleep, but I never said where or in whose sheets," showcasing her talent for clever wordplay.
Additionally, Rodrigo's lyrics can be biting and acerbic, as seen in her song "Brutal," which draws inspiration from Elvis Costello. In her most impassioned moments, Rodrigo's lyrics appear to reinterpret the accusatory bitterness that was Costello's initial trademark, but for a younger, female audience. Lines like, "Hate to give the satisfaction, asking how you're doing now / How's the castle built off people you pretend to care about?" from "Vampire" could easily have been lifted from Costello's albums "This Year's Model" or "My Aim Is True," showcasing her capacity to craft lyrics with a timeless edge.
The sharpness of Olivia Rodrigo's work extends its appeal beyond its primary audience, resonating with people who interpret the phrase "great for my age" in ways slightly different from Rodrigo's perspective, as evidenced in the closing track "Teenage Dream." However, these broader demographics are a secondary consideration. The more pertinent question lies in whether Rodrigo can evolve along with her audience, continuing to engage their interests as they mature and no longer need to "pretend to be older than they are," as expressed in "Making the Bed." This challenge is a part of her future trajectory.
Nevertheless, in the present moment, it's difficult to envision anything but enthusiastic reception for "Guts" from her audience. Her music appears poised to captivate them once more.
I would give this album 4 out of 4 stars.