“Nini and I are very similar,” said Olivia Rodrigo. “She writes songs about the boys and puts them on social media, and it’s totally something I do in my real life.” Rodrigo sat in front of a mixer, talking about the character she plays on TV and the complicated ways her life and art tend to be similar. It was in 2019 and she was interviewed on a Disney Channel show with an appropriate recursive name: “High School Musical: The Musical: The Series: The Special”, a promotional vehicle (“The Special”) for her TV show. (“The Series”), which involved a group of students putting on a stage production (“The Musical”) of a popular Disney Channel film of the Two Thousand (“High School Musical”). Later in the special, cameras captured the show’s producer telling Rodrigo and his co-star, Joshua Bassett, that a duet they wrote was going to be included in an upcoming episode. “You picked your song, and it’s called ‘Just for a Moment’. It’s going to be a huge success, ”he told them, and they shouted in gratitude.
The producer was right, or almost. “Just for a Moment” was a hit, but the real song in the series was “All I Want,” a solo written and sung by Rodrigo, which delivered the lyrics with a hint of vibrato and a temporary effect – as if , at any time, she could take it all back. In the character of Nini, or maybe not, she sang, trembling: “All I want is love that lasts / Is all that I want to ask too much?” And then, in January, even that song was overshadowed by Rodrigo’s debut single “Drivers License,” a perfectly crafted romantic howl of resentment that became an immediate blockbuster – one of the most contagious pop songs, surely, that everyone will come out. decade. He set streaming records on Spotify, and by the time he appeared atop the Billboard Hot 100, a week and a half after its release, fans had already decided they knew what it was. Using clues gleaned from social media, they concluded that Rodrigo and Bassett were dating and the “driver’s license” spoke of how he left it. “You’re probably with that blonde girl,” Rodrigo sings bitterly, and listeners imagined she was referring to actress and singer Sabrina Carpenter, who is blonde, and who appeared to be friends with Bassett. Like many great breakup songs, this one is both a complaint and an indictment. A ringing piano evokes the insistent sound of a car asking its operator to close the door. Singing for the prosecution, Rodrigo delivers his closing argument: “You said forever, now I’m driving alone past your street.” She invites fans to share her fury at the cosmic injustice of it all, and obviously millions of them are.
The success of “Driver’s License” spawned a small music industry: the following week, Bassett released his own nasty song (“Lie Lie Lie”) and the following week Carpenter released one as well (“Skin”). ; Even as the “driver’s license” took over the world, Rodrigo and Bassett were on location together in Utah for the filming of the second season of “High School Musical: The Musical: The Series”, which made its debut. debut a few weeks ago. Perhaps more importantly, “Drivers License” marked the launch of an impressive musical career: Rodrigo was recently eighteen, and she is already emerging as the first big new pop star of this young decade. Her debut album, “Sour”, is surprisingly purposeful, and indeed the case: eleven semi-sweet songs, almost all about love gone bad. (Last week he spawned another No. 1 hit, “Good 4 U”.) In interviews, Rodrigo is strategically shy about the meaning of her lyrics, but when she sings she uses all the tricks – high, breathless; half-shouted choirs; a micro-rash of mirthless laughter – to make sure we know exactly what she’s talking about.
The original “High School Musical” was tall and broad, built around loud ensemble dance numbers; the most memorable character was Sharpay, a rich brassy and imperious girl, played by Ashley Tisdale, who was essentially a walking punchline. “HSM: TM: TS.” as some call it, it’s kinder and more intimate, brought to life with close-up love songs and flirty humor. The cast is varied (Rodrigo’s legacy is partly Filipino), and just about all of the characters are caring and kind, at least most of the time. At one point, during a rehearsal, Nini and a friend stop to judge Troy, the male protagonist of the original film; the way he treated his love, they agree, was “a little unforgivable.” There is no doubt that this updated sensitivity reflects the evolution of cultural expectations. “Gossip Girl,” another two-thousand TV hit, is currently being rebooted for HBO Max, and in a recent Twitter chat, Joshua Safran, executive producer of the old and new series, commented on explained that the 2021 version would have strict rules: “No shame bitch. No cat fights. “When some people wondered what exactly was left, Safran suggested that the characters would continue to do ’roundabout things’ – nothing unforgivable.
In an age of increasingly sensitive teen drama, what is a breakup song supposed to sound like? Boys who sing songs about treacherous ex-girlfriends might sound like assholes, or worse. Juice WRLD, the chart-topping singer and rapper who overdosed in 2019 at the age of twenty-one, was known for her heart-breaking songs that sometimes traded on old clichés of female cheating: “I was entangled in your drastic ways / Who knew perverted girls had the prettiest faces? In the case of Rodrigo, who was seventeen when “Driver’s License” exploded, the lyrics of a cruel ex might conjure up another possibility: that the girl in the song isn’t just asking for compassion but also for compassion. protection. There are worse things, after all, than grief, although a singer like Rodrigo can make you temporarily forget about it. “Sour” is funny in part because Rodrigo’s complaints are so specific and so ineffective:
The joy of a great breaking song is the joy of enlargement, of hearing a familiar romantic tragedy exploded to the world’s historic proportions. The girl in the songs can’t believe that her ex-boyfriend is playing Billy Joel for someone new. “I bet you even tell her how you like her, between the chorus and the verse,” she sings, and you can understand her dismay: imagine that you subjected yourself to such a maneuver in vain.
As she mentioned on this special, Rodrigo used to post song clips on Instagram. One of its greatest strengths is its ability to create the illusion of intimacy: a cloud of multitrack voices will disperse, or a buzzing riff will fall silent, so we can hear the sound of fingers moving across the fret, or the sound of Rodrigo. breathe, prepare for the next indictment. Rodrigo worked with songwriter and producer Dan Nigro, who previously helped a beginning singer named Conan Gray create one of the best debut albums of last year. (His name was “Kid Krow,” and it was filled with swooning wails and neat dance floors.) Together, Rodrigo and Nigro wreck recent emotional pop history: one song deftly evokes the sparkling, provocative spirit of Paramore, and several evoke Taylor Swift in her accusatory heyday. Rodrigo’s album, like his TV show, cleverly undermines nostalgia for the short cycle; both seem designed to make relatively young listeners feel absolutely old. She said she wrote “Driver’s License” after a car trip, during which she cried and listened to one of her favorite songwriters. This songwriter turned out to be not a former hero but Gracie Abrams, a rising star who is only twenty-one years old and has yet to release her debut album.
Rodrigo has been famous since the age of thirteen, when she started playing a character named Paige on a Disney Channel show called “Bizaardvark”, which was almost as meta as “HSM: TM: TS”. (These were two girls who find increasing fame by making viral videos; in episode three, Paige and her friend learn to fight online “haters.”) Rodrigo’s current alter ego, Nini, is gifted and moving and slightly anxious – but she’s also, quite literally, a Disney character, which means Rodrigo is already looking for ways to de-Disneyfy, at least slightly. At the climax of “Driving License,” she declares, “I still love you, baby,” a slightly awkward phrase that works because it doesn’t seem like it’s written – in fact, it almost seems improvised. Shortly after the song’s release, Rodrigo told an interviewer at W that her use of profanity was not a ploy, but she admitted that it could be of use to her nonetheless. “What if that naturally separated me from the Disney archetype?” she said. “That’s great.”
There was a general perception that teenage pop music was destined to explode and then disappear, as its fans grew and came out. But a song as big and as solid as “Drivers License” tends to stick around for years, if not decades, no matter what happens to its creator. It’s pretty easy to see how Rodrigo took advantage of the popularity of his show and the overwhelming drama of three teenage idols who seem to be singing songs to each other, and even the environment of the quarantine greenhouse, in which people spent a lot of time. time to watch tv and go viral. But with “Sour,” it’s also easy to see that Rodrigo has a knack for transforming into a memorable protagonist and creating pop songs as memorable as the ones they borrow. She probably won’t spend the rest of her life making breakup albums, although some of us would rather like her to. And before long, Rodrigo may well inspire his own nostalgia for the short cycle. Many high school listeners, not just teenagers, will likely always think of “Sour” as the sound of this moment – 2021: The Year: The Album. ♦