Following the record-breaking success of her debut album SOUR, fans were filled with a mix of anticipation and anxiety as they eagerly awaited Olivia Rodrigo’s second album, GUTS. 

Olivia Rodrigo’s fans harbored genuine concerns that she might succumb to the sophomore slump, fearing that the high expectations set by her remarkable debut, SOUR, could potentially pose a creative challenge for her second album. 

The sophomore slump, a phenomenon often observed in the music industry, refers to the challenging second album released by an artist after a successful debut. It’s a period where expectations are high, and artists may grapple with the pressure to meet or exceed the success of their initial work.  My own nervous anticipation, shared with other fans, subsided when Olivia Rodrigo pleasantly surprised everyone with the early release of the songs “Vampire.” and “Bad Idea right?” almost two months before the album was made public. This unexpected drop not only brought a sense of relief but also reignited my excitement, offering a preview of her evolving sound and reassuring concerns about the looming threat of the sophomore slump. And now the only thing left to do was wait until the rest of her album came out. 

When an album releases, the initial impression is shaped by its cover. Despite receiving criticism for sticking to the purple theme, Olivia Rodrigo’s album cover struck me as quite the opposite of boring. In my view, the GUTS album cover exuded a sense of maturity, offering a more refined and evolved aesthetic compared to her previous work. The continuation of the purple theme seemed deliberate, as a way to maintain a cohesive visual identity while signaling a more grown-up chapter in Olivia Rodrigo’s artistic journey. And the theme of growth is present throughout the album.  The first song shows this growth especially well. 

“All American Bitch” by Olivia Rodrigo surprised me with its mix of melodic acoustic guitar but contrasting lyrics: “And I’m alright with the movies that make jokes ’bout senseless cruelty” and “I am built like a mother and a total machine,” which highlight the social pressure on women to conform to unrealistic standards. Olivia’s shift to a pop-punk sound a quarterway through the song seems to symbolize breaking free from these confinements, making a bold statement against the stereotypical image of the ‘perfect woman.’ The song takes a surprising turn towards the end, with Olivia screaming at the top of her lungs before swiftly transitioning to a soft and quiet voice. The repetition of “I’m grateful all the time/ I’m sexy and I’m kind/ I’m pretty when I cry” adds a shocking and thought-provoking element to the experience. Overall the song served as a fantastic introduction to the album, offering a refreshing and mature atmosphere while building on the elements that made Sour so captivating.  

The seamless transition from the previous song into “bad idea right,” marked by footsteps and a door opening, adds a thoughtful touch to the album. I’m sure it’s a universal experience to make questionable decisions or rebound with exes. And “bad idea right” is such a relatable song. A notable aspect of not just this song but throughout the album is how the music mirrors Olivia’s headspace, as seen in the guitar riffs symbolizing her brain going into overdrive after singing “My brain goes/ “Ah, Can’t hear my thoughts (I cannot hear my thoughts)“  or how in “Vampire” or “logical” she gets louder and more intense, clearly spiraling into emotional distress as she sings. This paired with her at times witty and at other times absolutely soul-crushing lyrics like “And I fell for you like water falls from the February sky/ But now the current’s stronger/ I couldn’t get out if I tried” or “I feel your compliments like bullets on skin” and “And I despise my jealous eyes and how hard they fell for you/ Yeah, I despise my rotten mind and how much it worships you”; she paints a beautiful story. And her authenticity shines through, even to the very last song, which is called “Teenage dream.” As artists outgrow the ‘ideal’ celebrity image, they often face increased scrutiny, with female artists particularly subjected to public criticism. In the final song, Olivia is already apologizing at the age of 19 for the inevitable process of growing up, acknowledging that she is not able to fulfill the fantasy of being her fans’ eternal teenage dream. This album definitely beat the sophomore slump.

5/5