Sparkly Edward Cullen. My third-grade Halloween costume (complete with those gross plastic teeth, of course). The utter trainwreck that is “Morbius.” Between the three, it’s safe to say I’ve had my fair share of vampire-ness. I hit it right off of the bat with some of them and others, well, sucked. Olivia Rodrigo’s latest single, “Vampire,” however, is firmly the former: it hit a bloody gold mine.
Released on June 30, “Vampire” is the first single from Rodrigo’s sophomore album, “Guts,” scheduled to release on Sept. 8. This album will play a pivotal role in defining Rodrigo as more than a Disney has-been and one-hit-wonder, allowing her to fully cement her personal music style. If the rest of the album is able to live up to the simplistic storytelling, driven mostly by heart-wrenching vocals and genuine teenage angst showcased in “Vampire,” then fans seriously have something to be excited for in “Guts.”
The opening chords of the heartbreak ballad are reminiscent of the beginning of Rodrigo’s 2021 hit single, “drivers license.” The melancholy piano persists, but as “Vampire” progresses towards its chorus, it becomes clear that the build up is destined for anger, not heartbreak.
“How’s the castle built off people you pretend to care about?” Bitter.
“You called them crazy // God, I hate the way I called them crazy too.” Oozes with regret.
“Went for me and not her // ‘Cause girls your age know better.” Chastising.
Adding fuel to the fire, the simple lyrics strike a balance between vampire lore and Rodrigo’s wistful realization: her older ex was using her for her fame.
The nuances of anger and Rodrigo’s realization that she missed all the red flags define “Vampire’s” dramatic story arc. The growing tension in the second verse is a testament to this fact. As the drums kick in and the piano becomes more forceful like a film score foreshadowing a pivotal moment, you can feel the coils of betrayal lurking around the chorus until it just explodes.
Show-stoppingly cinematic in delivery. That’s what it is.
Each chorus intensifies the tension of the narrative, making every realization burn more fiercely and urgently than the last. A touch of drums here and subtle synths in the background there. By the bridge, Rodrigo is wailing, reaching new emotional heights with each note.
“You said it was true love, but wouldn’t that be hard? // You can’t love anyone ’cause that would mean you had a heart.” Yep. That line leaves the backstabbing, vampire-esque older guy no better than the dirty socks under my bed — for dead.
You’ll get the gos for sure — the what, where, why and whodunnit of the situation — but “Vampire” manages to be transportive beyond a simple recap: you can’t help but be immersed in the “six months of torture” as Rodrigo’s voice swells and trembles with every stake-through-the-heart line.
In a lot of ways, “Vampire” takes what worked across “Sour” — piano-led ballads, powerful rising action in the second verse and showstopping bridges — and finesses it. “Vampire,” or all of “Guts” for that matter, don’t mark the beginning of a new era; instead, with Rodrigo’s scorching vocals and honesty becoming a signature for her music, they show she doesn’t need to reinvent herself.
The comparisons to Lorde’s raw vulnerability, Billie Eilish’s vocal style, and Taylor Swift’s bridges might hold true to “drivers license.” The parallels continued across “Sour” with traces of Paramore and Avril Lavigne on pop-punk song “good 4 u.” The trail of comparisons won’t stop with “Guts” I’m sure, but when the dust settles, “Vampire” manages to form an identity of its own: one that is wholly, truly, at-its-heart Rodrigo’s. Blood, guts, vocals, and all.
–July 6, 2023–
