Olivia Rodrigo has entered a new chapter, and she’s kicking the door off its hinges. Today, the GRAMMY‑winning, multi‑platinum phenomenon releases her third studio album, you seem pretty sad for a girl so in love, a record that finds her leaning deeper into vulnerability, chaos, humour and heartbreak than ever before. It’s out now via Geffen Records, accompanied by a wave of limited‑edition merch, vinyl variants and curated collectibles that are already flying off shelves.

The album lands alongside the official music video for “stupid song”, directed by Mitch Ryan and filmed in New York City. The clip features choreography from Prima Ballerina Tiler Peck, with dancers from both the NYC Ballet and American Ballet Theater swirling around Rodrigo in a dizzying, theatrical release of emotion. It’s a striking visual statement that hints at the album’s wider themes: self‑interrogation, romantic delusion, and the messy beauty of being young and painfully human.

Rodrigo’s run of dominance shows no sign of slowing. Lead single “drop dead” made her the first artist in history to debut the first three singles from their first three albums at No.1, a stat so wild it barely feels real. Follow‑up single “the cure” also hit No.1 across multiple Billboard charts, including Hot Rock & Alternative Songs and Alternative Digital Song Sales.

Just weeks ago, Rodrigo took the stage at Spotify’s Billions Club Live, celebrating nine songs surpassing the billion‑stream mark. The concert film is now available on the platform, capturing an artist who has become one of streaming’s most unstoppable forces.

And because she loves a surprise, she also popped up at Primavera Sound, debuting the Robert Smith–assisted “what’s wrong with me”, a collaboration that feels both unexpected and completely perfect.

Rodrigo’s upcoming Unraveled Tour doesn’t start until September, but it’s already a phenomenon. Over 1 million tickets sold. Multiple added dates. Venue records shattered across the US and UK.

She’s now set for a 10‑show residency at Brooklyn’s Barclays Center, a record‑breaking 10 nights at LA’s Intuit Dome, and an extraordinary 11‑night run at London’s O2, placing her in the same rarefied air as Prince, Rihanna, Elton John, and The Spice Girls.

UK 2027 O2 Dates

Mon, Apr 5 — London, UK — The O2~
Tue, Apr 6 — London, UK — The O2~
Thu, Apr 8 — London, UK — The O2~
Fri, Apr 9 — London, UK — The O2~
Mon, Apr 12 — London, UK — The O2~ - ADDED DATE
Wed, Apr 14 — London, UK — The O2= - ADDED DATE
Thu, Apr 15 — London, UK — The O2= - ADDED DATE
Mon, Apr 19 — London, UK — The O2= - ADDED DATE
Tue, Apr 20 — London, UK — The O2= - ADDED DATE
Sun, May 9 — London, UK — The O2= - ADDED DATE
Mon, May 10 — London, UK — The O2= - ADDED DATE

Support Key
~ Grace Ives
= Die Spitz

Rodrigo’s third LP is structured as a two‑sided emotional arc, Side A (girl so in love) and Side B (you seem pretty sad). It’s a clever framing device that mirrors the album’s push‑and‑pull between infatuation and insecurity.

Tracklist

SIDE A — girl so in love

girl so in love
drop dead
stupid song
honeybee
maggots for brains
u + me = <3
my way
purple

SIDE B — you seem pretty sad

you seem pretty sad
the cure
begged
what’s wrong with me (feat. Robert Smith of The Cure)
less
expectations
cigarette smoke

LISTEN/BUY HERE

Limited-edition merchandise, curated collectibles, vinyl and more are available now.

With 36 million albums sold, 14 GRAMMY nominations, and a trophy cabinet that includes AMA, BRIT, Juno, NME and Billboard Awards, Rodrigo has become one of the defining artists of her generation. Her debut SOUR became the longest‑running debut album in the Billboard 200 Top 10 this century, while GUTS debuted at No.1 and cemented her as the youngest artist ever to debut three singles at No.1 on the Hot 100.

you seem pretty sad for a girl so in love feels like Rodrigo’s boldest step yet, a record that embraces contradiction, humour, self‑doubt and emotional honesty with the confidence of an artist who knows exactly who she is, even when she’s singing about not knowing at all.

It’s messy. It’s theatrical. It’s painfully relatable. And it might just be her most human work to date.

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