Olivia Rodrigo Brings the Guts — and Glory — to Bridgestone Arena

Disney Channel mainstay turned pop-rock maven Olivia Rodrigo’s second album Guts is a cultural phenomenon — simultaneously immensely popular, exceptionally fun and profoundly meaningful. The tour in its wake, which rolled into Bridgestone Arena on Saturday, followed suit.

If you hadn’t known 1980s-pop-schooled singer-songwriter Chappell Roan was the opening act, it would have been hard to deduce from her set, or from the way the crowd engaged with it. Anyone who came expecting to sit and ignore the opener was surely disappointed. Between her natural stage presence, powerful vocals and danceable set list, the Midwest Princess demonstrated her command of the massive audience with ease. The entire arena lit up with cellphone lights as she sang her devastating ballad “Casual,” and people from the pit to the nosebleeds joined in for the YMCA-inspired dance to “Hot to Go!” Expect Roan to be selling out arenas on her own very soon.

It’s worth noting, too, that Roan’s presence on this tour is a beautiful move of solidarity. She and Rodrigo share a producer, Dan Nigro, who once dropped Roan’s project to work with Rodrigo. It seems that Rodrigo wants careful critics to know they are on the same team — no bad blood, no competition, just mutual support. Rodrigo has made it clear that she wants the Guts Tour to work for good too: Her Fund 4 Good raises money for local reproductive justice organizations in each city she visits. Abortion Care Tennessee and Mountain Access Brigade were the chosen recipients for Nashville’s show, and both set up booths in the concourse. 

Beyond her obvious magnetism and accessibility, Rodrigo’s greatest weapon might just be her tastemaking power. The midshow set change was soundtracked with hits by The Clash and Joan Jett and the Blackhearts; odds are strong this was a first concert for a decent portion of the young audience, and this might have been the first time they were hearing those artists outside classic-rock radio. Then Rodrigo took the stage to spill her guts to rapturous applause. 

Backed by a stellar all-female band, Rodrigo expertly bounced between pop-punk-flavored rockers and songs of emotional confession. Her growth in the years since her debut release of “Driver’s License” is easy to hear — her vocals are much stronger, and her songwriting has matured to match. Songs from her debut LP Sour ring truer now, with her more confident delivery and in the context of a diversified catalog. From tickling the keys of a baby grand on her aforementioned chart-topping breakout single to strumming pretty purple guitars, it seems there is nothing Rodrigo can’t do. 

The set list was masterfully constructed, with Rodrigo’s spunkiest bangers giving way to tender acoustic reprieve. Between her Hunger Games hit “Can’t Catch Me Now” and her bombastic finale, Rodrigo was joined by Nashville-residing guitarist Daisy Spencer for a campfire-style cross-legged sing-along of two of her most heartfelt songs, “Happier” and “Favorite Crime.” One hair-metal-inspired transition later, Rodrigo was bursting through “Brutal” and the sexy Guts secret bonus track “Obsessed.”

Don’t be mistaken: Olivia Rodrigo isn’t just great for a 21-year-old performer — she’s great, full stop. Her delivery on “Vampire” deserves to be studied, if for no other reason than how perfectly her cadence matches Jennifer Garner’s in Juno when transmitting the sickest “cool guy” burn. I’ve never seen a crowd so captivated by an artist as all the little girls were when Rodrigo floated around the arena on a crescent moon surrounded by glittering stars. And I’ve never seen so many grown women screaming with such passion as when Rodrigo burned through “All American Bitch.” The song is womanhood itself: a beautifully wrapped package with a perfectly neat bow, filled to the brim with worms. 

Midway through, Rodrigo surprised the crowd with a special guest, a first on the tour. Sheryl Crow, the cornerstone of late ’90s and early Aughts radio-friendly rock, joined Olivia onstage for her most cathartic hit, “If It Makes You Happy.” If there is a woman who hasn’t screamed the lyrics to that song in her car at least once, I haven’t met her yet. 

The youthful majority of the audience might not have a frame of reference for the weight of this moment, but that’s OK. For now, they have the joy of seeing a young Filipina American succeed, along with the fun of singing along to their favorite pop songs. Someday, after growing up on Rodrigo, they will find her inspirations. They will know every word of Live Through This, Jagged Little Pill and Riot! They will bawl their eyes out to Carrie and Jennifer’s Body. Maybe not today, but someday, they will ache like I ache — like Olivia aches.

The Spin

Olivia Rodrigo Brings Down the Opry House

• Steven Hale