The expectations for Olivia Rodrigo’s second album were sky-high after the success of Sour. And here’s the good news: the young singer has proven herself to be no one-hit wonder. In fact, on GUTS, she showcases significant musical, lyrical, and vocal growth. The result? GUTS is a second album that truly stands out.
After her debut single, “Driver’s License,” Olivia Rodrigo already demonstrated on “Sour” that she had more to offer than just sensitive piano ballads. “GUTS” is a natural extension of this. With pop, rock, and punk tracks, it’s a versatile album that’s easy to listen to, yet also prompts some introspection.
Growing up in the spotlight from a young age is what Rodrigo experiences daily. She expresses her thoughts on this in songs like “All-American Bitch,” the opening track. The world expects you to behave properly, but deep inside, you’re screaming. It’s a strong opener reminiscent of Avril Lavigne’s heyday.
At just 20 years old, Rodrigo has already experienced a lot in her short life. That’s the conclusion one can draw after listening to “GUTS.” Thankfully, she manages to weave these experiences into great pop songs. For example, “Ballad of a Homeschooled Girl,” which, by the way, is nothing like a ballad, deals with social anxiety. And on “Pretty Isn’t Pretty,” she emphasizes body positivity, as the (online) world constantly makes her feel like she’s not beautiful enough.
It takes GUTS
But the central theme on “GUTS” revolves around a tumultuous past relationship. The sarcastic pop-punk track “Bad Idea Right” addresses the foolish decision to meet up with an ex and keep it a secret from your friends. The strong lead single, “Vampire,” labels an ex-partner as a “Bloodsucker, famefucker, Bleedin’ me dry, like a goddamn vampire.”
Olivia’s emotions run the gamut. While most of them revolve around her ex’s wrongdoings, she also unnecessarily shoulders some blame. On the melancholic “Making the Bed,” she blames her own naivety for the failed relationship. She also does this on “Logical” and “Love Is Embarrassing,” although the latter leans more towards innocent teenage infatuation.
Rodrigo’s ability to handle different genres with ease was evident before. Both “Driver’s License” and “Good 4 U” became huge hits from “Sour.” However, on “GUTS,” she displays even more boldness. Singles like “Vampire” and “Bad Idea Right” already highlight the difference, but the transition from “Logical” to “Get Him Back!” underscores this again. The latter has everything to describe this album – a strong ambiguous lyric (she wants him back but also seeks revenge), excellent vocals, and a blend of pop, rock, and punk influences. Together with the opener, “All-American Bitch,” it’s a highlight on this album.
The only downside is the album’s length. With just twelve songs and a runtime of under 40 minutes, it’s a relatively short album. A few extra tracks wouldn’t have been a punishment. However, to extensively criticize it to the extent that it cannot be called an album due to this short length, would be going too far. Olivia Rodrigo has proven herself to be an excellent music maker and has charted her own path in pop music. The American singer will only continue to rise in the coming years.
