Olivia Rodrigo: Live From Glastonbury
- JCP
- Jan 28
- 5 min read
Updated: Jan 30
Full disclosure - I'm a big fan of Olivia Rodrigo. Well outside the typical demographic, but good music is good music.
With 2 studio albums (SOUR and GUTS account for well over 25 billion Spotify streams globally), 4 EPs, 1 live album and the High School Musical soundtracks, we all know that Olivia Rodrigo needs no introduction. So this review is focused on the music. The live sound, specifically. How does Olivia hold up outside the studio?
Olivia Rodrigo: Live From Glastonbury - A fan's review
Label: Geffen Records, BBC
Released: December 5, 2025
Genre: Rock, Pop
Website: https://store.oliviarodrigo.com
Tracklist
The album kicks off with her hit "Obsessed." The extended intro had me scratching my head for a second—why did it sound so familiar? Then it hit: it’s channeling the vibe of "Cheap Trick At Budokan (Live)"!
When you're done here, go listen to the intro to "Need Your Love" from that concert and see if you don't get the same vibe. Probably not intentional, but I love the nod.
Anyway, side track over with, the immediate takeaway that stands out as we start this concert is the quality of Rodrigo's band. The bass is nice and chunky and we get a fantastic guitar solo to close out the song.
As "Obsessed" wraps up, it flows right into "Ballad of a Homeschooled Girl" in what could be a masterclass on a seamless transition between 2 songs. They give this their full energy and the crowd loves it. You can hear the rawness in Olivia’s voice — the sound of someone running, engaging the crowd, and still delivering the song. Her hard work has paid off and we the listener get to reap the reward. No signs of pitch correction here — just a voice doing the work.
After two fast paced rockers to get us started, Olivia slows down into "Vampire", and continues the slower pace through the rest of Side A. A slower pace does not mean any less enthusiasm though.
Olivia dives into the lyrics as the crowd does with her. She pauses briefly to let the crowd have their moment, and each one of them sing "Bleed me dry like a god damn vampire" at the top of their lungs.
Kudos to the producers for letting the crowd interactions through the mix just enough to feel the experience, but not so much as to drown out the music.
Three songs in, Rodrigo addresses the crowd, and her genuine gratitude for the opportunity to play on this giant stage is heartfelt. The two-way love between her and the fans is special. She invites them all to sing really loudly as she starts into "Driver's License" and naturally they oblige her. At one point both Olivia and the band drop out and let the crowd have the song.
After finishing up a beautiful rendition of "Traitor" it's time to flip over to Side B. This seems a good spot to talk about the band. If Olivia Rodrigo stands apart from her pop peers in a live setting, it’s because she’s backed by a band that isn’t afraid to sound like a rock band.
You don’t hear many modern pop songs leave space for a proper electric guitar solo, let alone celebrate one. Rodrigo’s live set not only makes room for them — it lets them breathe. This is where Rodrigo separates herself from a lot of her pop contemporaries: she isn’t fronting a backing track, she’s fronting a band.
The standouts on this live set are Arianna Powell on lead guitar and drummer Jordan Radnoti. Radnoti really gives Olivia's music the energy needed for a show like this, and you'll hear me commenting about Powell's guitar prowess throughout.
With that in mind, Side B opens with “Bad Idea Right,” and immediately puts that rock backbone to work. The guitar solo rips, the crowd knows every word, and the song closes strong — just long enough to leave you wanting more. Right on cue, “Love Is Embarrassing” kicks in, rocking just as hard and restoring the balance. If Side A eased us in, Side B commits fully.
The real standout on this side of the album, though, is “Happier.” Live, it takes on the feel of an old-school rocker, starting with airy vocals accompanied only by a keyboard, then building tension before morphing into a hard-edged guitar solo. Its only real flaw is that it doesn’t last long enough — that moment where Arianna Powell truly shines.
That restraint feels intentional. This is, after all, Olivia’s show, and the solos never overstay their welcome. Instead, they hit hard, make their point, and step aside, keeping the focus where it belongs while still letting the band flex just enough to remind you why they matter. Side B closes out with "Enough For You" and then we're off to Olivia's special guest.
Side C shifts gears, opening with Olivia Rodrigo introducing guest Robert Smith of The Cure to join her onstage. Together they tackle two Cure classics — “Friday I’m in Love” and “Just Like Heaven” — and the band does an admirable job of catching the mood and texture of the originals.
These performances aren’t polished, and that’s meant as a compliment. They won’t be mistaken for studio-perfect or awards-bait vocal showcases, but that’s missing the point entirely. The charm here is in the imperfections. You can hear that everyone onstage is having fun with these songs, and that sense of looseness comes through in the recording, making them a joy to listen to.
Before launching into “So American,” Rodrigo pauses to share the personal story behind the song’s inspiration. The fun continues, but there’s a noticeable shift — Olivia sounds most comfortable when she’s back in her own material. And if you’re listening on a system with a subwoofer, this is where that chunky bass first mentioned earlier really gets its moment.
Jump ahead to Side D and the album heads for the finish line at full speed. A dramatic intro sets the stage for “Brutal,” before crashing unapologetically into “All-American Bitch,” a moment where Rodrigo and the band more than do the song justice live. The set closes on a high with “Get Him Back,” powered by a fully engaged audience that feels inseparable from the performance.
Whew. What a ride.
Live albums can be divisive. Some listeners prefer the polish and perfection of a studio recording, free from crowd noise and imperfections. Others gravitate toward the rawness — the missed notes, the shouted lyrics, the moments that make the music feel human.
If you fall firmly into the first camp, and you’re only a casual fan, "Olivia Rodrigo: Live From Glastonbury" may not be essential listening. But if you love Olivia Rodrigo — or if you want to hear what sets her apart from many of her pop contemporaries — this album captures her at full energy, backed by a band that elevates her songs and a crowd that meets her every step of the way.
This one earns its place in the collection.
