{"id":534,"date":"2026-06-15T22:35:34","date_gmt":"2026-06-15T22:35:34","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=534"},"modified":"2026-06-15T22:35:34","modified_gmt":"2026-06-15T22:35:34","slug":"olivia-rodrigos-early-twenties-lament","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=534","title":{"rendered":"Olivia Rodrigo\u2019s Early-Twenties Lament"},"content":{"rendered":"
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\u201cThey say modern love\u2019s a cruel endeavor,\u201d Olivia Rodrigo sings on \u201cu + me = <3,\u201d a lush, desperate new song from her third album, \u201cYou Seem Pretty Sad for a Girl So in Love.\u201d She adds, \u201cAnd to that I say, \u2018Fuck it, whatever<\/em>.\u2019\u00a0\u201d Insouciance has always been Rodrigo\u2019s abiding philosophy when it comes to romance. If her discography has a single repeating theme, it\u2019s that love is ruinous, a surefire path to acting like a ding-dong. Once again, Rodrigo shrugs off concern. What else would she do\u2014stay home?<\/p>\n

Read more Fight Night at the White House<\/a><\/p>\n

Rodrigo began her career as a child actor. By age seven, she\u2019d had her first role, in an Old Navy commercial; by thirteen, she was starring in her own Disney Channel series\u2014but she didn\u2019t become a superstar until 2021, with the release of \u201cDrivers License,\u201d an indignant, slow-burning anthem about the humiliation of desiring someone who betrayed you. Her first two albums, which contain a mix of moody, stricken ballads and springy, punkish romps, remind me of Taylor Swift and Avril Lavigne, with a hint of Ashlee Simpson thrown in: poppy, highly confessional, sometimes slapsticky songs about how love pushes even the best of us to the precipice of insanity. Rodrigo\u2019s always had cool taste\u2014she collaborated with David Byrne; Blondie introduced one of her performances on \u201cS.N.L.\u201d; Robert Smith, of the Cure, is a guest vocalist on a new song, \u201cWhat\u2019s Wrong with Me\u201d\u2014but she\u2019s just beginning to figure out how to merge her countercultural influences with her Disney pedigree.<\/p>\n

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On \u201cYou Seem Pretty Sad for a Girl So in Love,\u201d Rodrigo, who is twenty-three, is inching away from frisky, impish pop-punk and leaning more toward New Wave, with its melodic synthesizers and velvety yearning. (There\u2019s also a good dose of angsty nineties alt-rock here, including tracks that sound inspired by Weezer, the Smashing Pumpkins, and the Breeders.) Rodrigo has a disarmingly powerful soprano, and she\u2019s a charming, determined performer. I still recall, with a mix of horror and reverence, a viral clip of her tumbling into an open hole in the stage during the \u201cGuts\u201d tour, bouncing back out, and proceeding to finish the show.<\/p>\n

The first side of \u201cYou Seem Pretty Sad for a Girl So in Love\u201d is about the euphoria and terror of new love. But the back half is a heady object lesson in the limits of partnership\u2014how even the right person can\u2019t fully quell whatever torment lurks in the recesses of one\u2019s consciousness. \u201cI know everybody changes, but I hope that we don\u2019t,\u201d Rodrigo wails on the chorus of \u201cu + me = <3.\u201d It\u2019s a lyric destined to make elders in the room grimace. Change is inexorable; better to hope that you evolve in compatible ways.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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That idea\u2014love as a failed panacea\u2014reaches its apotheosis on \u201cThe Cure,\u201d a tense and melancholy song about hoping a new relationship might liberate you from your worst impulses. She sings:<\/p>\n

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Used to play a game in my head when I\u2019d date a guy<\/p>\n

Tally up the girls that he fucked \u2019til I start to cry<\/p>\n<\/div>\n<\/blockquote>\n

Envy and uncertainty are not new terrain for Rodrigo, but I was nonetheless struck by the grimness of the line. The track recalls the drama and mournfulness of two songs by the Smashing Pumpkins: \u201cDisarm\u201d (about abuse and resentment) and \u201cTonight, Tonight\u201d (about trying to outrun yourself). Rodrigo\u2019s fans are young\u2014some very young\u2014and her music is perky, composed, and telegenic in a way that can distract from how much darkness and loathing lurk within it. Now she is perhaps exactly at the age in which a person realizes how often those things come to coexist.<\/p>\n

In May, Rodrigo performed at a Spotify event in Barcelona, wearing a puffy floral top and matching bloomers, an ensemble that resembled a baby-doll dress, or, more specifically, the kind of dainty frock a Victorian toddler might have donned to waddle the gardens under her nanny\u2019s parasol. It led to some pearl-clutching about Rodrigo\u2019s supposed self-infantilization\u2014a concession, perhaps, to a culture of predation on young women. Rodrigo eventually countered that her detractors were blaming the wrong person. \u201cI just think it just shows how we normalize pedophilia in our culture,\u201d she told the Times<\/em>. \u201cIt\u2019s just this rhetoric that we\u2019re fed as girls since we\u2019re so little, which is like, don\u2019t wear that because then a man is going to sexualize your body and it\u2019s your fault.\u201d<\/p>\n

Read more Meet Russ Freud<\/a><\/p>\n

Rodrigo said that the outfit was inspired by nineties alt-rock icons such as Courtney Love and Kathleen Hanna, who often wore baby-doll dresses onstage, though back then the styling was generally gnarlier (ripped tights, unwashed hair, smeared makeup), which made the whole look feel cheeky and subversive. Hanna, who founded Bikini Kill\u2014and, by extension, is a primary architect of riot grrrl, a subgenre of punk that centers feminist rage\u2014often weaponized fashion, performing with the word \u201cslut\u201d written across her belly, or in hot pants with a little bush peeking out, or in a tomato-red go-go dress that featured the phrase \u201cKILL ME<\/em>\u201d in ironed-on white letters. Even more pointedly, Hanna occasionally put on a Girl Scout uniform, a caustic homage to being sexualized as a young girl; Love once wrote \u201cWITCH<\/em>\u201d on her arm in red lipstick while wearing a white baby-doll dress with a stuffed doll dangling from the hip.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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I came of age in the late nineteen-nineties, and worshipped Love and Hanna (also Kim Gordon, Kim and Kelley Deal, Juliana Hatfield, PJ Harvey, and Bj\u00f6rk). Part of what fascinated me about their presentation was not only their refusal to kowtow to male desire, which for decades had a stranglehold on rock aesthetics, but a concomitant disavowal of commercialism. For Hanna and her cohort, the idea was not so much to court popular attention but to repel it.<\/p>\n

Unlike her riot-grrrl idols, I would not describe Rodrigo as radical, exactly, but she is not apolitical. In June of 2022, during Rodrigo\u2019s Glastonbury d\u00e9but, a day after the Supreme Court overturned Roe v. Wade, she and Lily Allen performed Allen\u2019s song \u201cFuck You.\u201d Rodrigo dedicated the performance to the five Justices who voted in favor of the decision, and called them out by name. \u201cThey truly don\u2019t give a shit about freedom,\u201d she said. (On tour the following year, she partnered with the National Network of Abortion Funds.) Last fall, when the Trump Administration used \u201cAll-American Bitch,\u201d a song from \u201cGuts,\u201d in a video valorizing ICE<\/em> agents, Rodrigo reacted with outrage, calling the footage \u201cawful and barbaric and cruel.\u201d<\/p>\n

In general, the rub with pop music is that it almost invariably babies and defangs its practitioners; the best pop songs are about big, dumb, adolescent feelings (an overwhelming crush, a cataclysmic breakup, getting zooted and having a blast). It\u2019s never been the right medium for nuance or rebellion or cataloguing the endless, wretched banalities that actually make up an adult life; as such, it\u2019s not particularly easy for pop stars to age or evolve. This is doubly true for women, who are more likely to get mired in the quicksand between coquettish ing\u00e9nue and grande dame, and who are given far less leeway when it comes to the rules of growing up.<\/p>\n

\u201cYou Seem Pretty Sad for a Girl So in Love\u201d is germane to Rodrigo\u2019s age, transitional in the way one\u2019s early twenties can feel provisional and wildly unpredictable. On \u201cDrop Dead,\u201d the opening track, Rodrigo toggles between girlish hopes (there are lyrical nods to chewing gum and holding hands) and more mature wants (\u201cAnd then maybe we could make, make out\u00a0\/ Clothes off and fall to the ground\u201d). Yet, by the end of the record, Rodrigo sounds less like a love-struck teen. On \u201cExpectations,\u201d the album\u2019s eighties-inspired penultimate song, she sings about learning how to temper her hopes and dreams, or at least to stop looking for love in all the wrong places:<\/p>\n

Read more Jackie Gleason\u2019s Paranormal Activity<\/a><\/p>\n

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So I hit the new year like a single girl at a Vegas bar<\/p>\n

Rocking my mini dress with a vodka cran and an open heart<\/p>\n

Yeah, I\u2019ve got hope, yeah, I\u2019ve got drive, I will not lose my faith<\/p>\n

Don\u2019t think my future husband\u2019s at this bar in Silver Lake.\u00a0\u2666<\/p>\n<\/div>\n<\/blockquote>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Amanda Petrusich reviews Rodrigo\u2019s new album, \u201cYou Seem Pretty Sad for a Girl So in Love,\u201d on which the singer inches away from frisky pop-punk and toward the velvety yearning of New Wave.<\/p>\n","protected":false},"author":1,"featured_media":533,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-534","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-music"],"yoast_head":"\nOlivia Rodrigo\u2019s Early-Twenties Lament - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=534\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Olivia Rodrigo\u2019s Early-Twenties Lament - 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