Olivia Rodrigo's new album: Between babydoll aesthetic, self-reflection and a guest appearance by Robert Smith

The new work carries an extended title in the style of a diary note – unlike her previous one-word albums – and shows Rodrigo on the cover on a swing, dressed in a kind of short school uniform. The image references what the dpa article describes as the "girlhood" phenomenon.

The visual language of the album

According to the article, "girlhood" refers to "a playful, solidary celebration of girlhood" that "expresses itself through nostalgic, playful and hyperfeminine imagery – such as bows, pastel tones, glitter, diary aesthetic or analogue photography – and at the same time symbolises community, emotionality and self-discovery." Filmmaker Sofia Coppola popularised this aesthetic some 20 years ago with films like "The Virgin Suicides". Coppola popularised this "girlhood" some 20 years ago with films like "The Virgin Suicides".

Musically, Rodrigo draws on the pop-punk sounds of her first two albums, which were inspired by Y2K acts like blink-182 and Avril Lavigne. According to the article, the track "U + Me = <3" is reminiscent of The Cure, while the single "the cure" stylistically points in the direction of The Smashing Pumpkins. Her new single "drop dead" is the fourth song to land directly at number one on the Billboard charts. In the accompanying music video, Rodrigo dances through Versailles in ruffled shorts.

A special feature of the album is the first guest appearance by another artist in Rodrigo's career: Robert Smith, singer of the band The Cure, can be heard on the track "what's wrong with me". Smith, who is 44 years older than Rodrigo, had already accompanied Rodrigo at her Glastonbury performance the previous year, when the two performed two Cure classics together on stage. The Cure is one of Rodrigo's favourite bands.

Robert Smith as a historic guest

In a BBC interview, Smith had previously said that he loved her music and admired how effortless and natural Rodrigo seemed when writing songs. About their joint song, he said it had been an honour to be invited. The collaboration underscores how strongly the pop culture of past decades lives on in Rodrigo's work.

The dpa report states on this: Taking apart what exists, rearranging it and charging it with one's own perspective: that is exactly how pop has worked since its beginnings. The article makes a similar argument with regard to Taylor Swift's last two albums, which are considered an example that a global pop artist does not necessarily have to release new music regularly.

Debate about babydoll aesthetic and male gaze

At the same time, Rodrigo is at the centre of a debate about the perception of female pop stars. Critics accuse her of using inappropriate imagery with babydoll dresses and childlike looks. Musicologist Penelope Braune told dpa: "Das Problem ist doch nicht, dass eine Frau ein kurzes, verspieltes Kleid trägt. Das Problem ist viel eher eine Kultur, die weibliche Körper permanent sexualisiert und anschließend Frauen für genau diese Sexualisierung verantwortlich macht." Braune added that "reclaiming" could be meant as empowering, but remained ambivalent: "…und genau deswegen ist Reclaiming auch nie völlig frei von Ambivalenz: Es kann empowernd gemeint sein und trotzdem in einer Bildökonomie zirkulieren, die vom Male Gaze geprägt ist."

Rodrigo herself spoke about her role models in an interview with the "New York Times" podcast "Popcast": musicians like Courtney Love, who in the 1990s combined childlike outfits with combat boots, angry lyrics and distorted guitars, were her role model, Rodrigo said in the interview with the "New York Times" podcast "Popcast". These musicians were her role model, Rodrigo said in the interview with the "New York Times" podcast "Popcast". She also pointed to the "Riot Grrrl" movement of the 1990s as a stylistic reference in an interview with Vogue.

In a Vogue interview, Rodrigo had also sharply rejected the criticism of her outfits. The criticism of her babydoll dresses made her "really angry", she said. "Das zeigt, wie wir Pädophilie in unserer Kultur normalisieren." Speaking to the "New York Times", she said a frustration song like "begged" would have been written in the past with less self-reflection and more blame; now she was more concerned with examining her own expectations and mistakes.

Role models, defenders and upcoming tour

Courtney Love also defended her against accusations. Love had publicly spoken out against criticism of Rodrigo. Similar debates have also taken place in the past about pop star Sabrina Carpenter, who also likes to appear in babydoll dresses.

Her songwriting partner is the producer Daniel Nigro, with whom Rodrigo has been working since "Sour". The first hit track "All I Want" was released when she was 16 years old – further evidence of how early Rodrigo started her career.

Commercially, Rodrigo remains unchallenged: the dates of her world tour, which will also bring her to Germany next year, have been sold out for a long time. The question Braune raises, however, remains open: it is crucial, Braune said, "ob wir Olivia Rodrigo als handelnde Künstlerin ernst nehmen, oder aber, ob wir ihr sofort unterstellen, sie reproduziere bloß fremde (männliche) Fantasien?"