“I wanna say to all the young girls out there who are writing songs every day, in their journals, on their bedroom floors - I am constantly moved by your vulnerability and your creativity and bravery,” she said. She closed by offering a message to the aspiring female songwriters who might be watching. “It’s not always easy being a young woman in the music industry, but I’ve found so much strength from the female songwriters who have come before me and paved the way and opened doors for so many young women like me.” “So when I see someone like our Woman of the Year Olivia Rodrigo having such incredible success at such an early age, I am blown away.”Īfter thanking Crow - “I am such a massive fan of you and your songwriting,” she gushed - and congratulating the other honorees on the night, Rodrigo talked about her love of songwriting, and how it’s “always been everything” for her. “When I came up, women were struggling to be the architects of their own careers,” she said. “I was like, ‘OK, little 11-year-old boy.'” She went on to praise what a great example Rodrigo is setting for her generation. “I was shooting pool with my 11-year-old last night, and he was singing ‘Good 4 U’ at the top of his lungs, and then he was singing ‘Drivers License,” she recalled during her introduction. The production (by “drivers license” co-writer Dan Nigro, who has worked with Carly Rae Jepsen, Sky Ferreira, and Caroline Polachek), is delightfully ensnaring, and Rodrigo leans into the sassy, bittersweet catharsis.Later in the show, Olivia was presented Woman of the Year by Sheryl Crow. If “drivers license” channeled the intimate storytelling of Taylor Swift, “deja vu” nods towards Lorde’s offbeat melodrama and, eventually, Florence and the Machine’s grandiosity. Instead of pitting two young women against each other, “deja vu” directs its ire towards some unoriginal dude who keeps forcing “Uptown Girl” on his lovers-even though it was Rodrigo who introduced her ex to Mr. “I bet she’s bragging to all her friends/Saying you’re so unique,” she sings, throwing in a smug “hmph” for good measure. Rodrigo catalogs these activities over a twinkly melody, twisting the tension before the big reveal: She’s not the love interest anymore. Once again, the narrative centers around an expired romance with distinctly theater-kid vibes: watching Glee reruns, trading clothing, being unabashedly annoying. The song’s delicate final moment-“’Cause you said forever, now I drive alone past your street”-is basically tattooed on the public consciousness.Īfter such a tremendous debut, Rodrigo’s next move would determine if she would be deemed a one-hit wonder or pop music’s next heavyweight. “And that’s the beauty of it, you got a problem?” retorted host Regé-Jean Page. It even got its own effusive “Saturday Night Live” skit: “Sounds like it’s just some teen girl singing in her room to her piano,” remarked Pete Davidson. Fueled by a juicy subplot involving a Disney love triangle (with speculative responses from the other involved parties), “drivers license” debuted at the top of the Billboard Hot 100 and broke Spotify’s record for the most song streams in a week. The introductory single from the 18-year-old actress, known for her roles in the Disney shows Bizaardvark and High School Musical: The Musical: The Series, followed a heartbroken Rodrigo on a spin through suburbs, lamenting what could have been. No one-especially not Olivia Rodrigo-expected “drivers license” to become the biggest song on the planet overnight.
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