After a near three year wait, Olivia Rodrigo has released her highly anticipated third studio album 'you seem pretty sad for a girl so in love' to critical acclaim.
It's been just over two months since Olivia Rodrigo announced her return to music on April 2nd, and you seem pretty sad for a girl so in love has certainly delivered as marking a substantial evolution in Rodrigo's discography, albeit inspired by the turmoil of her break-up with actor Louis Partridge.
The album is divided into two sections, with the first seven songs depicting the album's a girl so in love identity, contrasted with the latter half of the album concerning the you seem pretty sad songs, laden with ballads and emotional lyricism. This isn't to say that the album as a whole isn't abundant in crafty lyricism, where Rodrigo continues to excel in her songwriting ability alike her previous work, yet its her meticulous curation of each of her songs that distances this project from her other releases.
With a run time of 50 minutes, its easy to get bored of a project this length without an engaging theme or shift in genres, and Rodrigo achieves just that through the album's thematic duo-structure, as well as an exploration into traversing genres, although sometimes subtly, whilst sticking to her punchy, emotional roots.
The album opens with the first single 'drop dead', released initially on April 17th, which topped both the UK and US charts with its debut. Although perhaps Rodrigo's weakest lead single, it sets the album up perfectly for its thematic first half, and has been pretty consistent with its performance on streaming, accompanied by its success on TikTok. Compared to the rest of the album, it is quite apparent that the choice of the song as the lead single was a safe choice and selected for its mainstream appeal, but it certainly ranks low in the album as a whole. However, Rodrigo delivers a catchy chorus and fun bridge that definitely encapsulates the listener, and it is sure to grow in likeability with more listens of the album.
Video courtesy of @OliviaRodrigoVEVO on Youtube
'stupid song' follows the opener as the album release's coinciding single, where again it isn't Rodrigo's strongest work. The song might be catchy, but it is obvious that it was curated for the mainstream listener and doesn't do Rodrigo's excellent lyricism any justice. It is a shame the album starts off this way, but I acknowledge that it is a safe beginning to hook in the average listener, before delving into the album's deeper themes, and much more stand-out tunes.
'honeybee' is an interesting track, relying mostly on a piano, string assortment, and choir to create a whimsical and elegant love song, perfectly indicative of what the first half of the album is about. The track also features backing vocals from fellow pop singer Conan Gray, a long-time friend of Rodrigo, so the song has cemented itself already as being a fan favourite for both fandoms. Its production is different but beautiful; a charmingly mellow track great at showcasing Rodrigo's vocals, whilst being an easy listen which is captivating and refreshing, compared to the previous two mainstream singles.
'maggots for brains' is an immediate upbeat shift from its precursor, drawing on themes of codependency on a partner, and the criticisms of herself feeling empty due to the unhealthy obsession of being in love. Rodrigo regards the track as being inspired by her love for rock music, although not instantly recognisable, and that it is certainly "one of my favourite songs on the record", in an interview with Popcast. Its punchy, danceable chorus bleeds into the next track as well, 'u + me = <3', accompanied by the funky plucking of a guitar to create a soppy mathematical analogy to love, continuing the album's first half thematically.
Video courtesy of @Popcast on Youtube
The abrupt noisiness of 'my way' is unexpected but uniquely welcome - Rodrigo's aggressive lyricism is reflective of the song's production, where she criticises another girl for 'stepping over the line' with her boyfriend. Its upbeat, synthesiser heavy background depicts the track as confused and overwhelming, but purposeful in depicting the jealousy and hatred that Rodrigo addresses, with the catchy repetition of "ah-ah" in both the chorus and song's conclusion intent on leaving the song lingering on the listener for the songs to come.
'purple' is the turning point of the album, reminiscing on the fine line between healthy love and attachment, or obsession, where Rodrigo acknowledges the mixing of herself and Partridge as blue and red, respectively, to become purple, but in a much more sinister and dark way. As the track progresses, the pace quickens, illuminating their disagreements and the corruption of the relationship, eventually turning all "to black" - a uniquely metaphorical way to present a cautionary prelude to the second half of the album's more sorrowful themes.
The second single, 'the cure', begins the you seem pretty sad section of the album, and it is possibly Rodrigo's strongest song on the album, if not one of her greatest singles that she has released. Although it has a run time of nearly five minutes, and is mostly instrumental, quite atypical for her average single, 'the cure' is an emotional masterpiece with a super catchy hook and chorus, beautifully dramatic bridge, and entertaining music video accompaniment. Personally, the song has been on repeat since the album's release, and is certainly a stand-out track that deserves considerable recognition amongst Rodrigo's catalogue.
Video courtesy of @OliviaRodrigoVEVO on Youtube
'begged' and 'less' are two more melancholy, ballad heavy tracks which are great at showcasing Rodrigo's vocal and songwriting abilities, curated to be amazing live performances, highlighting the dwindling of love and desire to receive companionship, even if that's the bare minimum. However, the song between these two, 'what's wrong with me', is definitely an intriguing track as it features Rodrigo's first ever collaboration, from no other than The Cure's lead singer, Robert Smith.
The two have been friends for years, with Rodrigo idolising The Cure since a young age, and she has previously interacted with Smith when she brought him out for a surprise performance at Glastonbury last year, performing The Cure's iconic hits 'Just Like Heaven' and 'Friday I'm In Love'. Although an unlikely combination, the collaboration on her new album blends their vocals together brilliantly on the chorus, creating a nostalgic yet modern take on a song detailing emotional distress and dependency on a previous partner. The duo previewed the song previously at Primavera Sound early this month on the 6th of June, and since has been a unique addition to Rodrigo's expansive discography.
Video courtesy of @BBCMusic on Youtube
'expectations' is sure to be Rodrigo's next breakthrough from the album, despite it not performing astoundingly on streaming as of yet. Compared to the mellow, sombre characterisation of the album's latter half, 'expectations' completely contrasts this with an electronic pop beat with the most powerful chorus of the entire album. Rodrigo assures that her 'expectations' have evolved and that she won't settle for anything less after suffering this heartbreak; it's a song of self love and rediscovery, and the song's production, from long time collaborator Dan Nigro, is endlessly addictive. It is without a doubt that this will become a fan favourite, and potentially a further single for the album, because the track just has that pop anthem quality, perfect for the summer.
The album concludes with the longest track in Rodrigo's catalogue, 'cigarette smoke', at a staggering 5 minutes 40 seconds long. She reminisces on heartbreak, pouring out everything that is left to be said before the album reaches its climax, revisiting old songs through its clever lyricism, and marks an emotional 'goodbye', similar to that of Billie Eilish's closer on her WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? album from 2019.
Overall, it's easy to see why Rodrigo's album has been so critically appraised since its release, especially by Pitchfork, awarding it both 'Best New Album' and an outstanding ranking of 8.3. Each track feels uniquely dissimilar to the last, and the album's thematic division keeps the listener engaged, broken up by the odd ballad or upbeat song to keep you reeled in.
Rodrigo is also set to embark on her sold out 'The Unraveled Tour' starting in the UK next April, embarking on an incredible eleven nights in London's O2 arena, where fans will be able to enjoy this amazing addition to Rodrigo's discography in a live environment.
Image courtesy of @oliviarodrigo on Instagram
In conclusion, you seem so pretty sad for a girl so in love is definitely a must-listen this week, and it is apparent why Rodrigo continues to dominate the pop scene, from her monumental rise back in 2021. The album's 50 minute run time might seem intimidating, but the meticulous crafting of the tracklisting makes the project seem short and engaging, so I have no reason not to highly recommend this project to any fans of Rodrigo's previous work, or solely enjoyers of mainstream pop. It is also headed to top both the UK single and album charts this Friday, so it is without a doubt that fans are enjoying what Rodrigo has to add to her beloved discography.
My Rating: 8 / 10
Album cover image courtesy of Olivia Rodrigo / Interscope Records
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