photo: raph_ph · cc by 4.0 ↗Olivia Rodrigo went from Disney Channel actress to generational pop-rock songwriter almost overnight, when January 2021's piano ballad "drivers license" turned teenage heartbreak into a global No. 1. Her debut album SOUR (2021) swung between confessional balladry and pop-punk fury, explicitly channeling the 1990s and 2000s women in rock and pop she grew up idolizing, and won her the Grammy for Best New Artist. She followed it with GUTS (2023), doubling down on the same volatile mix of vulnerability and snarl.
Rodrigo has called herself Swift's biggest fan "in the whole world," and it shows in her diary-entry lyric writing, the way small real-life details (a scented candle, a blue dress) get loaded with emotional weight. The connection got literal in 2021, when Rodrigo added Swift and Jack Antonoff to the writing credits on two SOUR songs for their melodic and structural resemblance to Swift tracks.
listen forCue up Swift's "Cruel Summer," and pay attention to the harmonized shouting on its bridge, then play Rodrigo's "deja vu" — she's said that exact vocal moment is what she was chasing, right down to the layered group-yell melody.
Rodrigo has named Paramore and Hayley Williams as touchstones for SOUR's pop-punk snarl, and "good 4 u" carries that connection into its credits: three months after release, Hayley Williams and Josh Farro were retroactively added as co-writers after listeners and critics noted the chorus's resemblance to Paramore's "Misery Business."
listen forDrop the needle on "Misery Business" and clock that galloping pop-punk chorus and the sneer in the vocal, then play "good 4 u" — the tempo, the palm-muted guitar snap, and the furious-ex delivery land in almost the same place.
Rodrigo has said hearing Morissette's "Perfect" at 13 rewired how she thought about songwriting — proof that raw, unfiltered anger and hurt could be the whole song, not just a mood underneath it. That blunt, diaristic bite is all over SOUR's harder-edged tracks.
listen forPlay "Perfect" and listen to how flatly Morissette states her resentment, no metaphor cushioning it, then put on "brutal" — Rodrigo's opening blast of self-loathing and teenage overwhelm runs on that same nothing-to-lose directness.