, so I’m inclined to take his instant appraisal with a grain of salt, despite my own love of Swift. Still, it fascinates me that the critic has now given the “instant classic” treatment to Rodrigo, who, when she broke big in 2021, was cast as Swift’s devotee, potential heir apparent,That is, until the ultimate clash of the creatives that, by now, has been so tirelessly documented.
As a great many Rodrigo defenders have accurately pointed out, the history of pop music is essentially hinged upon outright theft, whether it be lyrical, conceptual, or melodic. There are only so many notes and riffs that exist, and just because one song borrows from another doesn’t mean the song doing the borrowing doesn’t have value.
If Rodrigo was a savvier operator, she would have learned from the many “stealing” accusations she faced onand taken pains to avoid those traps going forward. But already, there’s a viral tweet going around comparing the melody ofIf I was just disappointed that the sounds onwere those I’d heard before, that would be one thing. But on her sophomore album, Rodrigo shows us no musical identity that isn’t either referential to other pop music or based on feelings of self-inadequacy.
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