Olivia Rodrigo’s highly anticipated third studio album immediately bursts into a buzz of synth-fuelled excitement, instantly meeting and even exceeding the expectations of fans and listeners alike. ‘Drop dead’ is the first track, the lyrics already revealing themselves to be as catchy and captivating as any of Rodrigo’s previous work. The chorus’ crescendo breathes a new wave of life into the song, perfectly communicating the fast-paced dizziness that young love offers.
The adrenaline fades out, transcending into ‘stupid song’ — a soft, reflective ballad. The tempo gradually increases as Rodrigo confesses her concerns, each statement unravelling a thread of emotional veracity and integrity. The track effectively displays Olivia’s progressive maturity within her music, revealing intriguing new steps for the singer.
‘Honeybee’ is a gentle, lullaby-esque love song, the perfect representation of the hopeless daydream of a blossoming romance. The ensemble within the chorus allows the track to grow towards a heavenly, angelic rhythm, aggrandising the tender delicacy of such adoration and devotion.
The fourth track, ‘maggots for brains’, steps away from the overwhelming affection, exploring Rodrigo’s feelings of isolation and hopelessness, feeling “dirty” and “rotten” in the absence of such companionship. The 80s-adjacent synth pop works incredibly well in juxtaposing the melancholic lyricism, leaving a glimpse of hope for the listener in the sea of Rodrigo’s despair and loss.
‘u + me = <3’ continues the cheerful melody, this time replacing the confessional lyrics with a liberating, head-over-heels feeling. Rodrigo’s carefree nature is extremely refreshing, the listener almost able to indulge in her happy-go-lucky charm. She is very admirably able to maintain her bubbly, innocent pop attitude whilst allowing her newfound experiences to refine and develop her creative directions.
‘My way’ can only be described as a 2000s, pop rock anthem. Rodrigo’s vocals are laced with spite, adding such an intense edge to the track. It is incredibly reminiscent of the likes of Avril Lavigne and Paramore, the rebellious, sharp-tongued attitude only elevating what could very well be considered one of the album’s greatest tracks.
In ‘Purple’, Rodrigo’s hazy daydream of love seems to wear off, uncovering the cracks and flaws. The seemingly peaceful and contented essence of the track is somewhat overshadowed by the statements “we fight… like a real couple” and “I had big dreams till I tied myself to you”, understanding that although love is such a powerful force, it is so incredibly easy to lose yourself and your whole being.
The second single, ‘the cure’, encapsulates such a powerful feeling of despair, comparing her love to “medication”, recognising how it eventually leaves her feeling numb and complacent rather than alive and passionate. The layered vocals between “I’m unravelling” and “why can’t you come stitch me up?” portray her conflict within such an emotional experience, questioning something she was once so sure about.
The next three tracks, ‘Begged’, ‘what’s wrong with me’ and ‘less’, ultimately act as a slow deterioration of the portrayed relationship. In ‘Begged’, Olivia’s beautiful vocals carry the feeling of worthlessness, the intensely confessional lyrics expressing her lack of satisfaction and inner conflict within love.
‘What’s wrong with me’ is the incredibly highly anticipated collaboration with The Cure’s Robert Smith. Despite the varying styles of both artists, their vocals most definitely complement each other. Smith beautifully integrates into the song without leaving Rodrigo overshadowed. A track of self-realisation and despair that communicates perfectly across generations, ‘what’s wrong with me’ is certainly one of the greatest collaborations of the year.
‘Less’ presents itself as the final letting go, the melodic piano contributing to such a vulnerable departure. With lyrics such as “I wish I wish I wish you loved me less”, the listener is once again able to understand and share the melancholy of Rodrigo’s emotional surrender.
The mood soars as ‘expectations’ starts, the bubblegum-pop synth reigning over the track. Rodrigo revives the ‘pop girl monologue’ in the second verse, one of my favourite features of the song and one I hope follows in future pop songs. Despite the tragedy of the previous tracks, ‘expectations’ offers one last burst of joy, certainly meeting the listeners’ “real big expectations”.
The final track, ‘cigarette smoke’, is as hard hitting and emotional as its predecessors. Rodrigo conceptualises her grief and pain, ruminating on the past tracks as she references ’begging’ and ‘honeybee’. Her honest and sincere expression leaves a lasting mark on the album, the whole journey summarised in a final five minutes of heartache.
Ultimately, ‘you seem pretty sad for a girl so in love’ is a perfect blend of euphoria, self-reflection and sorrow. Each track plays its own role in this whirlwind of emotions. The album is an honest display of how Rodrigo’s style has matured and progressed over the years. Her new creative direction is admirably impressive as she carries the talent and iconic performance seen in ‘Sour’ and ‘Guts’. Overall, the album is an incredibly enjoyable listen and definitely worthwhile for both older and younger music fans.
Olivia Rodrigo: you seem pretty sad for a girl so in love – 12 June 2026 (Geffen Records)
