“Stronger, more assertive and bolder than ever”: GUTS by Olivia Rodrigo

Following the record success of Olivia Rodrigo’s debut album SOUR and the subsequent year of silence, the world eagerly awaited her next move and whether she could avoid her sophomore slump. Hon GUTS, Rodrigo reunites with producer Dan Nigro, returning stronger, more energetic and bolder than ever. Embracing doom-infused feminine energy, she succinctly describes the plight of young women. Unlike the sadness and despair that permeate the lyrics SOUR, GUTS finds Rodrigo struggling with anxiety and coping with the self-hatred that accompanied her meteoric rise to fame.

“Embracing rock-infused and feminine energy, she succinctly captures the plight of young women.”

From the start, Rodrigo incorporates more rock elements, reminiscent of Avril Lavigne in the opening track, “All American Bitch.” Bravely reintroducing herself, she pokes fun at the cognitive dissonance of being a young woman in American society, literally screaming out her frustrations in a burning rage before locking those emotions tightly away.

Throughout the album, Rodrigo’s performance choices allow her vocals to exude personality. This harshness is most evident in the song “Bring Him Back!” ⁠ is a clever play on ambiguity. Her willingness to embrace a conversational singing style yields more literal songs like “Bad Idea, Right?” raw quality, but still provides a tasteful look at her inner monologue.

Retaining youthful energy, caustic and sharp verses GUTS show deeper introspection than outward contempt for SOUR. From lightly poking fun at her own less-than-stellar decisions in “bad idea, right?” From the fiery self-criticism of “Love is Confusing,” Rodrigo takes inspiration from ’90s and ’00s rock, using unique vocalizations to express female angst.

“Clear and sharp verses GUTS show deeper introspection than outward contempt for SOUR”

Never has this raw, inward-looking anger been expressed so vividly as in “The Ballad of a Homeschooled Girl.” Each syllable is filled with self-hatred, showing Rodrigo’s complete control over his voice. With increasing irritability, she shouts: “I’m not funny, I know it!” and questions: “Oh God, what did I say?” There are moments of cathartic joy in these songs, even when she overanalyzes their flaws. Rodrigo is truly at his best when he’s self-aware and delivering high-energy rock.

This reflection becomes more solemn as she “makes the bed,” as she details the growing pain of her newfound fame. Rodrigo admits that she is partly to blame for her own unhappiness, demonstrating self-awareness by occasionally “playing the victim.” Even though she questions the influence of outside forces, she says in disgust, “I just let it happen.” “Logical” Rodrigo berates herself for staying in a toxic relationship, lamenting, “I know I could have stopped all of this / God, why didn’t I stop all of this?” Every song is filled with self-doubt; even while maintaining defiant control of her anger in “resentment,” she admits, “We both shed blood,” and calls her inability to forgive a weakness.

Compared to experimental and perfectly polished rock bangers, ballads are GUTS feel like the lull after a high, but remain sharp and deep. Rodrigo’s songwriting has clearly evolved as she uses precise phrasing and hyper-specific details to draw the listener into the story. Even the softest song, “lace,” still has a sharp edge.

While with SOURAlmost any teenage girl who has ever felt slighted in a romantic relationship could relate to Rodrio’s lyrics. GUTS delves into the specifics of the abuse she endured, resulting in a less interesting but more poignant set of breakup ballads. Lead single “Vampire,” a rock opera ballad, defies expectations as it builds, showcasing a mixture of her strengths. Through caustic lyrics, she deals with the pressure to live up to her “driver’s license” while avoiding the pitfalls of copying it.

While its treatment of the topic of insecurity is not groundbreaking, Rodrigo’s book “Beautiful Isn’t Beautiful” manages to bring a fresh perspective to every topic it touches on. in “Teenage Dream” (which hit a soft spot when it was released just days before my 20th birthday), she wonders if she will ever, even after all the emotional hardships, live up to her early success. As the bridge is built, the anxiety reaches a critical point and has no resolution. The heartbreaking closer embodies the anxieties of leaving your idealized teenage years behind you.

Hon GUTS, Olivia Rodrigo seamlessly combines deep emotional calculation and powerful vocals with witty and aggressive rock. Combining these elements, she expresses deep anger, directed partly at others but primarily at herself, as she enters adulthood. The album is consistently furious and furious—any intensity comes from a penchant for self-deprecation. Concluding the album she wonders if she has reached her peak, Rodrigo showed that by continuing to take risks and acting on her instincts, she can shine brighter than ever.