Switched on Pop - Olivia Rodrigo’s “Drivers License” is a full throttle power ballad

Episode Date: January 19, 2021

Power ballads used to top the charts regularly, from 80s rock to 90s R&B. But then in the 2000s, the formula of constant escalation gradually fell off the Billboard. Now, seemingly out of nowhere, Olivia Rodrigo’s single “Drivers License” is breaking streaming records as listeners yearn for the emotional catharsis from this contemporary power ballad. With the help of David Metzer, professor of music history at the University of British Columbia, we break down how “Drivers License” sticks to an age-old formula, and how it deviates from a well worn musical path.   SONGS DISCUSSED Olivia Rodrigo - Drivers License Barry Manilow - Mandy Roy Orbison - It’s Over Clyde McPhatter - Without Love There Is Nothing  Etta James - I’d Rather Go Blind  Journey - Open Arms  Mariah Carey & Boyz II Men - One Sweet Day  Seal - Kiss From A Rose Hootie & The Blowfish - Only Wanna Be with You  Led Zeppelin - Stairway To Heaven  MORE Professor David Metzer’s The Ballad in American Popular Music: From Elvis to Beyoncé Aiyana Ishmael for Teen Vogue “Olivia Rodrigo Song "Drivers License" Sparks Fan-Made TikTok POV Covers” Olivia Rodrigo’s Instagram demo Richard S. He Twitter thread  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Euphoria of Calvin Klein, the new collection elixir. Three new elixir is perfume intense. Solar, magnetic, ball. Pulsa in the banner. Do you quiz and discover your fragrance euphoria. Welcome to Switched on Pop.

I'm songwriter Charlie Harding. And I'm musicologist Nate Sloan. So, Nate, usually in the beginning of the year, it's a slow period for music. People are waiting for the Grammys, though they got postponed. And not as much music drops. Yeah.

And then all of a sudden, just last week, A song comes out that has taken everything by storm. And it comes as a recommendation from a listener. My name is Margarita, and I'm hoping you both could do a deep dive into the new song, Drivers License by Olivia Rodriguez. I think it's a simple, beautiful, melodramatic song with great storytelling that creates a lot of emotional tension to bring the listener in. And I think it would be really fun for you both to explore what makes it. it's such a great pop tune. Thanks. Do you know this one? No, I've heard chatter about this song,

but I've never actually listened to it. I'm super excited to dig in. Oh, fresh ears. That's exciting. Okay. Then let's just dive right in. Let's take a listen. Give it to me. Wow, it's not often I encounter a song that I've never heard by an artist I've never heard of. That really moves me on the first listen. That's what's happening here. I need to know more. Who is this Olivia Rodrigo? Where did this song come from? Why is it so effective? We got to break it down.

Yeah. So this is coming from 17-year-old Disney star and singer Olivia Rodriguez. She's known for her role in high school musical, the musical, the series. I'm sorry, what? We're just old, so let it be. And she is now releasing music on her own, not just as part of her Disney experience. And what is wild about this song is it is. breaking records left and right.

It's the most single day listens on Spotify ever, the most requested song on Alexa in a day ever. It's expected to debut at number one pretty much everywhere. And people have been remarking on, oh, it's interesting because it has some Lord timbers and a Swiftian bridge and it's a Billy Ballad. But I want to go beyond those sort of connections and think about why is this successful? Why does it feel so transcendent? So let's dive into the song and think about what is it about?

How is it pulling at our heartstrings? We start like a good teen drama with an open door and a dream. Door opens, digging alarm, turns into the piano. Okay, we got to stop it already because we just need to approve. I mean, that, someone may have done this before in the annals of popular music, but it's the first time I'm hearing it and musicalizing the monotonous beeping of an open car door segue. I mean, that is, that is so good. Such a lovely little moment.

And then she talks about the dream that so many teenagers have getting their driver's license. I call my driver's license last week, just like we all. talked about because you were so excited for me to finally drive up to your house but today I drove through the suburbs crying because you were I can definitely relate to that I mean how many tries did it take you to get your driver's license Charlie you probably did it on the first try knowing you it's really annoying you probably flawless perfect marks thank you as soon as you of age, yeah. Might have taken me a couple tries.

It's a big dream, but this is not about the license. Oh, it's a metaphor. It's a metaphor. Whoa, okay, right, right. I mean, it's also a little experience of, like, the license is the freedom to be able to go and do the things you want to do, such as visit the person you're in love with and they're not around. Dreams dashed right from the beginning. Yeah. Yeah, we've already gone through a whole emotional spectrum just in the first verse here.

And then the song escalates. We get a villain. And you're probably with that blonde girl who always made me doubt. We get the blonde girl. Now, this is just a good old villain in a character. This is the other woman story. And in this case, part of what is driving some of the chatter about this song is that, you know, there's some like celebrity drama in the background. Right.

So people are trying to guess, well, who is the blonde girl? Is it the other character? on high school musical who's now dating Olivia Rodriguez's ex-boyfriend and even released a supposed disc track response to driver's license

called lie, lie, lie, lie. Whoa, sorry, slow down. High school musical or high school musical to musical, the series? High school, musical, the series. Oh, okay, okay. Important. Yeah, I don't care about that.

No, neither do I. Although it is an important little thing just to sort of like, for those who do like the rumor mill, there is a demo of this song that she released on Instagram weeks and weeks and weeks ago, and originally the villain was not blonde. Wow, some deep research from Charlie Harding there.

Hold on. Let me just play it for you. Not only do we not care who this story is about. We care about the song, but we also find out that, you know, it's probably a fictitious character. We have the evidence right here in the original Instagram demo. Blondes make better villains, I think. What are you saying about me? I'm saying that let's talk about that sound at the end of the verse. That's kind of this low, almost sounds like a car engine,

and then it kind of gets pitched down. Yeah. Yeah, we should point out that the production here is by Dan Nago, who has also done great work with Carly Ray Jepson, Louis Capaldi, Caroline Policek, Conan Gray. He's hot, man. Lovely stuff. That's a nice little bit of text illustration there.

It's kind of like you see her getting, it's like she's getting the license, she's ready to go, but she's not with the person she wants and it's like, the engine dies. It's just the car just dies. And it's also just a lovely little subtle effect there in the production. Very cool. And she plays out this heartbreak, I think, even in the way that she sings. You said forever now I drive alone past your street. We can hear the just absolute somber quality, this melancholy.

Yeah. Oh, my gosh. Her voice is rising through that entire chorus and then it just collapses and all the emotion in the voice. But there's another thing in there that contributes to this song's enormous success. There's a lyric that opens up the world of this song for even greater interpretation. She says, I guess you didn't mean what you said in that song you wrote about me. What song? It's from high school, the musical, the musical, the series, the series, the film, the book, the TV show, the series, the series, the Instagram story, the musical.

Close. It's on TikTok. What? Okay, that's not very enlightening. There's a lot on TikTok. This is one of the great moments where listeners have decided that there is a bigger world to this song. and they have actually written their own versions of the song that continue the narrative from all of the different perspectives of multiple characters. And so there was a great sort of roundup in Teen Vogue.

The writer Ayanna Eshmael wrote a piece about all of these TikTok alternative universe songs that include versions from the perspective of the blonde girl. There's yet others that are from the perspective of the blonde girl. Others that are from the perspective of the X. Mm. And perhaps more ridiculous than ever, someone has written a piece from the perspective of an inanimate object, the driver's license itself.

You finally took the test and got me. Just like you always talked about. Did well at stopping and at parking. Made all your friends. That one's truly heartbreaking. I obviously all share these clips in the show notes because that one is actually the best. Wow.

People are awesome. I love that. Isn't that great? And I wonder if it isn't something about the song having this very cinematic, very storytelling kind of approach with all that emotion in the voice that we were talking about

that lends itself to building out these other worlds. Like it's something about the construction of the song that makes it so much fun to do that. Yeah, absolutely. And in fact, this is actually something I was truly wrong about. You know, you said you first heard the song

and it instantly clicked. It wasn't an immediate connection for me. It probably has something to do with my own emotional ineptitude. Ballads in me, we just don't always mix, and it probably has something to do with when I sat scared and alone during Stairway to Heaven,

slow dances in seventh grade, and everyone ignored me. And so, yeah, I just haven't been friends with ballads. So trying to figure out what makes this song work, I had to find a ballad aficionado who could explain why driver's license works so well. A therapist? The first thing is it has a soft opening, and most ballads do. But then it's just like a louder effect.

It's louder, louder, louder and louder. So it's really that constant escalation. That's David Metzor. He's a professor of music history at the University of British Columbia. and he literally wrote the book on ballads. Nice. The ballad, an American popular music, from Elvis to Beyonce. So in the book, he points out that there have been songs called ballads for about a millennia,

but contemporary ballads, and that's what we're talking about, have a particular flavor. And Professor Metzer has a nice, neat definition. It's a song set to a slow tempo that deals with themes of love and loss. Okay, so driver's license. Love and Loss, check. Right? Yeah.

But slowness, I don't know. It comes in at 140 beats per minute. That's fast enough to put a breakbeat over. Yeah, that's surprisingly quick. Because when you're listening to it, it doesn't feel like a breakbeat. It feels like this languorous kind of slowly unfolding drama. So that's an interesting sort of musical. sleight of hand or something. This concerned me too, but fear not, Professor Metzer has an answer for us.

Slowness is not always calculated by BPM. Slowness is like the impression that someone's puts on, and the way she sings it definitely suggests valid. It's like it's putting on the airs of slowness, although it might not be actually that slow when you count it out. Few. Slow. Check. Love and loss. Check. Ballad. Check. But according to Professor Metzer, driver's license isn't just a ballad, it belongs to a hallowed subcategory of ballads, the power ballad.

The power ballot is a ballad, but it's a ballad that takes things up the next level, if you will. I mean, the word power is often used to describe such things. You have a power suit, a power nap, but now we have power ballads, which just have this process of constant escalation

from the opening burst. They'll just get bigger, bigger and bigger and bigger. So maybe driver's license is so compelling because it follows actually a very specific rulebook that just consistently wins hits, a method that's actually been around for quite a while. It started with ballads in the 1970s. It becomes more a formula, if you will. One New York Times reviewer when he went to a Barry Manilow concert and he said, yeah, these songs, you know, they get a little tiresome. It's like, it's the Big Bang formula. That's what he called it. So let's see if we can hear that big bang effect through the case study of the song Mandy, written by the guy who really perfected the power ballad formula. Let's take a Manalo ballad. They all usually start off with just Barry by himself on piano.

And you might have a few instruments enter some drums. And then it builds and builds. You get more in the orchestra. He starts singing more passionately. And it continues to get louder and louder. or more of the orchestra. And then the crowning touch for a Manilow ballad always was a sudden modulation at the end. The song would lurch up a step.

And that's the Big Bang, I think, of the Big Bang, this formula. And then it just even gets louder from there and has like this grand finale to it. So we'll come back to Driver's License in a minute because it's not that driver's license just copies the Manilow style, but rather a formula that's, actually been honed over many decades and is connected to a deeper history across many genres. You could look at people before then who made ballads big. Roy Orbinson would be a great example of that. We can even go back to even the 1950s.

Clyde McFadders, without love, there is nothing, which was later also made famous by Elvis and many others. It was a huge hit and also a big ballad. Ooh, boy. And in the 60s, Edda James, I'd Rather Go Blind gave people all the feels like countless other soul singers from that time. But these examples serve as sort of proto power ballads, songs that don't quite have that constant escalation that we associate with the power ballad. That form really skyrocketed after Manilow proved their success. And the 80s things change up. People often question me like, why are you beginning in the 70s?

They go, the 80s is the golden decade of the power ballad. And they always take it to rock and metal acts from the 1980s. And so you'll have like Journey and Ario Speedwagon and like Motley Crew. A personal favorite is Journey's Open Arms. It starts with the piano just like Manilow. And then rock guitars lift us up a rung on the ladder. And cliched 80s drums take us to an even higher point. And by the final chorus, it's like an orchestra, but instead of a metal orchestra, we get heavy rock guitars. People often think power means rock,

but not necessarily it means more just kind of this emotional intensity. I think that's important, right? Power does not equal rock. the association power ballad rock no it is cross genre driver's license is not a rock song right nay right I don't know about you but I would say that the power ballad's heyday wasn't

actually even the 80s but rather when it came back around to its R&B roots in the next decade and Professor Metzer agrees but I would say the 1990s was really the glory days we're talking obviously Whitney Houston who also by the way was signed by Clive Davis

who also signed Manilow so there's some continuity here this is also the era of Tony Braxton, and my personal favorite of the decade, Mariah Carey and Boys to Men's One Sweet Day. Oh, the ultimate power ballad. This track starts small, but takes the Manilow formula and the rock showmanship and merges them with the next level of vocal power. When we get to the build of the song, it's like the singers are out-competing each other with expressive malisma. And of course, we get

the over-the-top modulation. There it is. For me, it's no wonder that it was a hit because the song was co-written and produced by Walter Afanasef, who also wrote Celine Dion's My Heart Will Go On, arguably the song that was both the apex and the denouement of the power ballad.

And One Sweet Day was actually the longest-running number one song in Billboard history until it was dethroned by Old Town Road. I don't know how I feel about that. It doesn't care. The song doesn't care. It's just going to be modulating up into infinity, no matter how you feel. Maybe that's appropriate because it modulated up into heaven to the absolute ends of the success of the power ballad.

The 1990s was really the glory days of the power ballad. It was in cinema, its winning academy. But I would say around the mid-2000s, it no longer has the hold on the charts that it did. And things start breaking down. By 2008, Empire Magazine even wrote about the rise and fall of the movie Power Ballad, and its relative disappearance from culture. So I did this analysis looking at the year-end top ten songs in 1998, and this blew me away.

Eight of the ten songs were ballads, and most of them were power ballads. Dang. In the last five years, there have only been five significant year-end top ten ballads. And not really in the category that not many of them are that sort of power ballad, constant escalation and harmonic uplift. And it's worth noting that there have been power ballads in the last 20 years, right? Like, I'm not saying they've completely disappeared. Christina Aguilera is beautiful. Alicia Keys, if I ain't got you.

and surely Adele, Pink, John Legend, Beyonce, and even Louis Capaldi have carried on that torch. But the power ballad has had a serious decline. Even in recent R&B comebacks, the power ballad structure has really been replaced by Vibe.

So that brings us back to driver's license. Maybe its success has to do with the fact that its sound is connected to this larger history, but maybe sounds kind of fresh. considering the relative weakness and performance of power ballads over the last few decades. And so what I want to do after the break is see if Olivia Rodriguez's driver's license gives us that big bang power ballot effect. I'm in.

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And this song in both the lyrics And now I'm kind of aware of its power ballad structure Is running on all cylinders To make you feel Those intense emotions, right? That intensity that Dr. Metzer was talking about Like that's what I'm getting from this song And it's like it's kind of nice to feel something

In the middle of a pandemic, right? I think you're absolutely right There's a lot of things that we've had to bottle up and just contain And this lets it all loose and it does so in the way that it builds out the song. So let's see how it conforms to that power of ballad structure and maybe even plays with it and brings some new material to play. As we established at the beginning,

the song starts very simply, first with the opening door and the ding, ding, ding, but that very simple piano, she's peddling a note on the top, a nice little B-flat, and we hear her voice. And then we get a hint of some power escalating with this deep, heavy bass tone that enters just momentarily. And then we get the claps. And then the piano really opens up.

Strings come in. Then even though things Forever now I drive alone past your sleep. And even though things drop for a second, now the drum comes in. We get a kick that propels us into the second verse. And all my friends are tired of hearing how much I miss you. And it expands and expands into actually a bridge section,

which is the biggest part of the song. And it provides this giant cathartic release that actually slows us down to halftime, but builds to this emotional peak. What do you think? Does it do it? Constant escalation? Power ballad?

Does it deserve the power ballad TM moniker? Yeah. I'm going to say that that bridge section feels pretty powerful to me. Yeah. What happens after that, though? Well, this is where she plays with the structure a little bit.

Okay. And Professor Messer actually clarifies that there are a lot of examples where even Barry Manila at the end of a song will drop down as Olivia Rodriguez does here. Really, as a contrast to show, look how big things had gotten. Right, right. I mean, yeah, if there was a modulation of a semitone or a whole tone, I would give this power for days. Yeah.

As it stands, I think it's right. It's right on the cusp. Well, we could argue that it does a kind of modulation in the bridge because this whole song is in B-flat major. And when we go to the bridge section, we get a heavy G minor sort of feel to it, moving into the relative minor. We might not have a formal modulation,

but we definitely have a real tonal shift. Like maybe the step-wonder. upward modulation would have been two on the nose. Well, it wouldn't have fit with the message of the song. Right. Because the song isn't about getting past heartbreak, ultimately, I think. Yeah. I think it's really about kind of wallowing in it a little bit in a cathartic way.

So maybe a modulation isn't really warranted here because often modulation suggests you're like reaching up and past and towards and above something. but I don't know if that's really what's happening here. And for Professor Metzer, it's not necessarily the sort of formal coherence to that power ballad formula that is essential, but rather the emotional affect of the song and the way that it plays with our feelings. The interesting thing about popular song is that uplift and sentimentality never kept company before.

But they do, and the power balladlet, the power balladlet will give you these really emotionally drenched scenarios, but then it gives you this building intensity. I think power balance just like to give you what I call an adrenaline rush of emotions. And perhaps the formula of sentimentality plus emotional rush is also what has led to this song structure's relative decline in culture, because like it or not, I mean, sentimentality can be quite taboo. Because we're so used to dismissing emotional display. It's, oh, that's mockish.

Oh, you know, that's too much. So people push them away for that respect. But everyone has fallen under the spell of one of them. That's the thing that gets me. I mean, people say, oh, you know, I'm above those type of songs. And I say, you know, there is, without a doubt, a moment in your life when you have, like, really turned to a ballad or a ballad has, like, really grabbed you at some moment. And I have no doubt that a power ballad has done that for you, too.

And people, they usually go, yeah, you're right. Do you have one? Yeah. Kiss from a Rose. Oh, yeah. That's one of your favorites, isn't it? Well, I don't know if I'd say favorites, but... What was the scenario?

I mean, that was the first album I ever bought was Seal. I think it was just called Seal, or maybe Seal, too. But it had Kiss from a Row. Actually, I'm not remembering. I wanted to buy the album by Seal with Kiss from a Rose on it. But it was like $16.99. And I only had like $15. So I ended up getting hooty and the blowfish for $11.99.

Which was like... Did not give you quite the power ballad you needed. Yeah. I think mine is embarrassingly actually listening on the school bus. I would bring my disc man. And I got that Stairway to Heaven CD and I would listen to it by myself, thinking maybe someone will dance with me. Oh, God.

Jesus, Charlie, whoof, woof. I told you, emotions are taboo. Is that a power ballad, though? Stairway to Heaven? It's not about love and loss. Oh, yeah, you're right. It's kind of about... Well, you tell me, man.

Okay, so perhaps there's some ways that Driver's License 2 plays with this structure and this sort of formal conception of a power ballad. I want to think about how does it play off this repertoire. In our closing segment, there's a couple of really lovely moments that I wanted to share with you. I think help assert the song as not just following a formula, but taking an all-time cliche

and crafting a song with its own original voice. And the first bit that I want to share with you actually comes from an analysis from a listener. Like seemingly everyone, I've been obsessed with Olivia Rodriguez's driver's license for the past week. That's Richard S. He's a he. music journalist and pop producer from Melbourne, who tweeted this thread of analysis about the song's original use of phrasing. And I asked him to share it with us.

Though the songs all in 4-4, it uses some very creative phrasings to create a sense of suspense. Each verse is seven bars long, with six lines of vocals followed by one bar of rest. Your ears expect eight, but the song gives you an odd number instead. Rodrigo sings the last line, crying because you weren't around, then her voice drops out, leaving you in the emptiness of the instrumental. But then, a piano chord pitch shifts down, and the next section starts a bar early. It's as if she's being interrupted by her own thoughts. It's brilliant pop songwriting, if you ask me.

Okay, wait, this is fascinating. How many measures is the verse again? Typically, we would expect eight, but here it's actually just seven. She closes out on the sixth bar. There's a bar of music. And then it just kind of surprises us and gets us right into the next stanza by dropping a bar, seven instead of eight. And in a way, you could think about this phrasing is kind of like the power ballad always escalating. There's almost like a sense of anxiety that's happening.

It makes us feel like things are moving along too quickly. Yeah, that's super unusual to encounter phrase structures that aren't in, you know, multiples of, two, four, or eight, very kind of a Burt-Baccarac sort of move there. I mean, let's listen to that section right now and see if we can anticipate where we expect to hear another four beats and instead are sent back to the beginning of the verse. And here we're going to count it actually in half time. Two, three, four, two, two, three, three, three, four, four, four, four. To finally drive up to your house.

Five, two, three, four, six, two, three, four, seven, two, three, four, eight. Nope, one. We expect that there could have been another bar of music. Instead, nope, we'd just right back into the verse, seven bars, not eight. It's a subtly disorienting effect. You don't necessarily clock it when you're listening to the song. because it's very effective. But whether we know it or not,

it's kind of putting us in this state of unease a little bit. Yeah, yeah, yeah, right. She does this also with the way that she plays with harmony. And there's this moment that, ugh, it's just like your heart melts in the sadness for her sadness. Remember that line, guess you didn't mean what you said in that song, you wrote about me,

we're talking about the TikTok stuff. Oh, yeah. the first time we hear it that has a particular flavor it's big it's sad it's almost like she's just come to this realization right like oh my gosh

you didn't mean it she says I guess you didn't mean what you said when we get that line the final time the underlying harmony changes and so does the way she sings it the piano emphasizes

this D minor sullen chord changes up just so slightly the voicing of the piano gets higher as does her voice and it's almost like this resigned acceptance it's quite sad but not nearly as sad

as the final moment in the song we talked about how the bridge shifts us into a minor for a moment but the song is actually in a major key this is a very sad song in the key of B flat major and yet that's not where we end

because she has this little cadence that she's established multiple times we have an expectation that's going to lead one way and it leads another Resolution, now I drive alone past your street Resolution, nice. Nope. You said forever now I drive alone past your street

Oh, that's a bummer. We resolve to the minor key. Yeah, the deceptive cadence. It's a very melancholy song. It really is. Part of my conversation with Professor Messer that stuck with me was about how the combination of the sort of diametrically opposed elements,

constant escalation, but sadness and sorrow, right? We're going in opposite direction. Sadness and sorrow wants to go down, and yet the song is building. And it just creates this overwhelming and sometimes confusing sense. sense of emotion, I think it's almost in that confused state that we are able to ride along and insert our own emotions. As you put it at the opening of this segment, we really need something

to let loose to right now. And I think that Olivia Rodriguez has found that power ballad formula, played with it just enough, and is helping us ride this wave. This episode of Switched on Pop was produced by me, Charlie Harding, Nate Sloan, Bridget Armstrong, and mixed engineered and mastered by Brandon McFarland. Our illustrations are by Iris Gottlieb, social media by Abby Barr, and our executive producers are Nashak Kerwa and Liz Kelly Nelson. Remember of the Vox Media Podcast Network. You can find more episodes of our show anywhere you get podcasts. We drop every Tuesday. So look out. We've got some exciting things brewing in 2021 for you all. Next week we'll be talking with Tableau from the fabulous group, Epic.

high. It's going to be a really interesting conversation. Come check it out. Until then, thanks for listening.