Just when I thought Olivia Rodrigo reached the peak of her musical witchcraft with GUTS, she’s done it again. Her latest single, “Can’t Catch Me Now,” is not only Oscar-worthy but also a magical addition to the soundtrack of the best film of the year, “The Hunger Games: The Ballad of Songbirds & Snakes.”
In a daring display of her musical mastery, Rodrigo traded her electric bass for a folkloric guitar, concocting a melody as earth-shattering as it is lovely. This results in a tune destined to linger in your head until the apocalypse — or at least until the next catchy hit comes along.
The melodic journey of “Can’t Catch Me Now” plunges listeners into the turbulent waters of “The Hunger Games: The Ballad of Songbirds and Snakes,” unraveling the love story between Lucy Gray Baird and Coriolanus Snow. Written from Baird’s perspective, the song navigates the emotional complexities of their complicated love story with a finesse exceeding Rodrigo’s typical teenage heartbreak narratives. Lines including, “I bet you figured I’d pass with the winter / Be something easy to forget,” render Snow’s character to perfection, showcasing Rodrigo’s lyrical talent even when in the realms of a dystopian romance.
The opening lines of “Can’t Catch Me Now” immerse listeners in a society tainted by violence and secrets, establishing the stage for a haunting narrative. The lyrics, “There’s blood on the side of the mountain / There’s writing all over the wall / Shadows of us are still dancing / In every room and every hall,” start painting the gloomy atmosphere surrounded by the story. As the song unfolds, Rodrigo introduces the theme of elusiveness “in the trees … in the breeze,” suggesting Baird’s enduring influence in Snow’s life even after disappearing.
One of the song’s standout moments, the bridge, cascades into heavenly vocalizations, beautifully echoing the ethereal and elusive nature of Baird, leaving an angelic permanent impression on my ears. In addition, the ending masterfully mirrors the movie’s conclusion, revisiting the imagery of the blood on the mountain not being washed away despite time passing.
One of the song’s standout moments, the bridge, cascades into heavenly vocalizations, beautifully echoing the ethereal and elusive nature of Baird, leaving an angelic permanent impression on my ears. In addition, the ending masterfully mirrors the movie’s conclusion, revisiting the imagery of the blood on the mountain not being washed away despite time passing. The lines, “Sometimes the fire you founded / Don’t burn the way you’d expect / Yeah, you thought this was the end,” inject a dash of irony and unpredictability into the song’s narrative and still keep me on the edge of my seat no matter how many times I re-listen. This conclusion ultimately defy assumptions, leaving room for interpretation of whether Baird managed to escape and survive.
Despite being tailored for Hunger Games enthusiasts, Rodrigo’s musical spell doesn’t discriminate; it captivates even those unfamiliar with the saga. Each time “Can’t Catch Me Now” graces my ears, I’m transported to a woodsy wonderland, imagining mocking jays harmonizing as I engage in casual conversation with them, all while nonchalantly enjoying nonpoisonous berries.
While I acknowledge a mentally sane person may not picture this scenario, the song’s relatability extends to everyone. I bet this song has even managed to become a national anthem for bank robbers. Just picture them screaming at the top of their lungs, “You can’t catch me now / No, you can’t catch me now,” in their car after successfully evading a police car chase.
Alternatively, if you find yourself in a scenario in which your cat starts defying gravity with all your favorite belongings, screaming the lyrics, “You thought it would wash away / The bitter taste of my fury / And all the messes you made,” is incredibly therapeutic.
