Olivia O’Brien became independent in 2023 and released two solid EPs: ‘Love & Limerence‘ and ‘Everywhere I Go, There I Am.’ These recordings proved she can deliver quality music that resonates with fans without major label backing.
The musician often addresses heavy topics like mental health and addiction, allowing her to connect with down-to-earth fans seeking genuine connection. She also explores a soul-sick nuance versus a divine undertone, hoping to find validity within a fallen human instead of an omnipotent creator. O’Brien uses a similar approach with her newest full-length album, ‘Pixie,’ but the output isn’t stellar.
Ultimately, losing some of her maturity could increase her followers. However, it could also alienate those who stood with her from day one. People respect the effort to break out of confining restraints, but abruptly changing form can hurt in the long run.
Nevertheless, recovering lost steps may pose an obstacle in her near future.
With quivering, distorted vocals, O’Brien begins “Dream Girl,” adding an ounce of innocence to the measure of hard-earned insight. If the bottom line doesn’t match another’s grand finale, hearts break and fantasies fade.
Going into this album already knowing the artist’s shaky track record on romance, it is hard to believe a man with a questionable past blindsided the musician. Older tracks like “Josslyn” and “hate u love u” better illustrate the complications created by overstretched boundaries and unclear intentions. The option of love never quite reaches the table, but infatuation dies quickly when sexual gratification is the leading aspect of another person’s motives.
The second track settles into mythology as Olivia O’Brien tackles “Icarus” from a relatable perspective, comparing her actions to those of the reckless youth. Not quite a cautionary tale, this song captures what it means to be rash and irresponsible at the age of 26.
Lyrics such as “I need a new obsession to lose myself within. To add to my collection of the people I have been,” embrace how it feels to be young and hopeful but completely lost. Personality traits can often be like an assortment of shoes, each fitting differently and accenting multiple layers of the soul. People choose to keep the ones they like, while disposing of the less favorable qualities.
Similar to a quarter-life crisis, O’Brien acknowledges she is her own worst enemy but has zero boundaries within herself to break free. The funeral-esque musical introduction is tailor-made for this song, cementing the finality of bad decisions and the regrets built with one’s own hands.
Proceeding forward, “I Always Say I’m Leaving” gives an 80s new wave vibe that neither adds nor takes away from the overall track. It is nice to see the artist stretch herself in a different direction, but the indistinct and unmemorable refrain fails to impress. One can’t help but release an unimpressed yawn.
Regarding the overarching theme, indecisiveness within the limitations of a relationship can lead someone into boundless circles. Comparable to “Should I Stay or Should I Go,” by The Clash, O’Brien offers no clear solution and only confuses herself and the audience in the end. Playing games in matters of love promotes leaving both people with severe stress cracks.
The next entry, “Guest,” provides an uninspired and listless beat accompanied by perfunctory and halfhearted lyrics — leaving much to be desired in every element of this musical equation. A direct quote unveils the meaning lying beneath the surface: “I can’t have the best, so I’ll settle for less. I can’t make a home here, so I’ll be a guest, I guess.”
This shallow rift describes a person stuck in a one-sided dynamic, losing their ideals, and settling for less than they require. Sometimes, when someone can’t achieve their happily ever after, they simply bide their time until someone better comes along. Being superficial and frivolous with one’s romantic energy is a fool’s errand, wasting the potential of a profound connection and destroying what could have transformed into a well-oiled machine.
While it doesn’t have to pertain to devotion and adoration, spirituality and transcendence encompass the proper functioning unit that outlines what an intimate bond should resemble.
Matters only get worse with the track “The Masochist.”
Sounding like a b-side performed by the power pop band Letters to Cleo, Olivia O’Brien undermines the progression she has made throughout her career, fumbling the ball and landing face-first in the equivalent of musical manure.
Songs like this make a person want to cheer for the record labels that prevent potential travesties from being recorded by many top artists. Occasionally, their input can deter a musician from derailing the course they set sail on. A damp rag goes a long way in extinguishing deadly flames into less harmful clouds of smoke; even a moist towelette may have forestalled this catastrophic result.
The succeeding number, sounding like an 80s 8-bit videogame soundtrack, “Take What You Need” does just enough to keep the listener from a mind-numbing silence but flat-out refuses to entertain them. Nodding off a few chords in, O’Brien’s pedestrian vocals are a content-free filler attempting to be contradictory but only coming off as cliché.
Holding no weight and creating zero infrastructure, the artist’s words form meaningless patterns and puddles of insipid slop. Significance remains, but purpose is sidelined by monotony.
O’Brien regains a step or two with “Written By A Man.” While the effort isn’t enough to call it a total rebound, the pacing and lyrical content more closely reflect the songbird’s recent past.
Strangely chosen as a single to exemplify the album, “Written By A Man” keeps things to the left of exciting, forgoing any resemblance to radio-friendly pop vibrations and embracing the attitude of a jilted lover performing at a coffee house on open mic night. Imagine Alanis Morissette’s ‘Jagged Little Pill‘ repackaged as ‘Kidz Bop‘ — a toddler’s tirade disguised as teenage angst.
The musician approaches the topic of the facades played at the beginning of a relationship. Crowds disguise their flaws and pretend to love barely tolerable things. At its base, this is disrespectful and a disservice.
In plain and simple text, “Let your yes be yes, and your no be no.” (Matthew 5:37) Emotional maneuvering proves a hindrance to all parties involved.
With dishonesty, one builds a foundation on sand that can be easily washed out to sea. (See Matthew 7:26-27) As the song describes, “Put me on a pedestal then pull it out from under me.”
O’Brien shifts to “Goodman,” a borderline catchy song introducing a haunting set of strings that flirts with orchestration. Fitting for an up-and-coming noir film soundtrack, the atmosphere created weighs heavily on the listener’s shoulders. This may be the first real act of artistry thus far.
Here, O’Brien explores what makes a good man: personality or reputation? The subjects of this man’s sins are never fully analyzed or spelled out, but a certain dirty sensation settles on one’s skin just by his presence. Most secrets are hidden for a reason, but never forget, “For all that is secret will eventually be brought into the open, and everything that is concealed will be brought to light and made known to all.” (Luke 8:17)
Knowing hidden truths won’t stay concealed forever can help pave a path to sincerity.
Retreading an already used theme, the extremely repetitive rhythm of “Quarter Century Blues” conjures up memories of early 2000s pop punk. Seriously, not inviting MGK to this party was a major misstep. Critics who call this genre lazy have a case in point here, but the emotional resonance does enough to defend this tune’s existence.
Multiple times throughout life, measuring up feels nearly impossible. Humans can hardly meet another’s standards, let alone their own. Morals fade and dreams fizzle, but life must go on.
Luckily, as long as a man is not on his deathbed, there is always the choice to rebuild. With faith, a person has the chance of becoming who they are truly meant to be. Remember, “Those who trust in the Lord will find new strength. They will soar high on wings like eagles. They will run and not grow weary. They will walk and not faint.” (Isaiah 40:31)
By relying on divine strength, one can triumph over human frailties.
On the verge of inspiration, “I Would Call, But I Don’t Hate Myself Anymore” is a vivid reminder of emo’s heyday back in the early 2000s. Not only in the rather lengthy title, but also audibly reminiscent of Jimmy Eat World and Saves the Day.
A minimalist groove paired with pedestrian prose creates a ditty that is merely serviceable. Phrases like “I would call you if you paid me in cash. I would call you, but I′d rather eat glass” get the point across with little to spark the imagination. In short, she has zero time for him now, and she’ll use any excuse to avoid even the most mundane of conversations.
O’Brien makes the same error again of right message, wrong delivery. A well-meaning mentor could save this faux pas from diving headfirst into the shallow end of the pool. Instead, the fans watch as the tragedy unfolds: fresh blood mixing with pungent chlorine — a sight, sound, and smell nobody wants.
More than halfway through, “I’m Perfect” amps up the energy and accelerates the tempo, but somehow manages to sound like a cell phone’s ringtone. The verses come off as borderline nonsensical and random in parts, underlining the relentless routine of being a celebrity.
Living a life where everybody tells a person they’re right can’t always be easy. The biggest dilemma is a swollen ego with a touch of trust issues. Every joke lands perfectly, and every decision is well strategized — at least that is what they are told.
This seems familiar to the sentiment that Miley Cyrus has made about touring issues in past interviews. The mental toll and lack of a true support system ultimately destroy a person’s mental health, leaving them vulnerable to a psychological crisis or emotional collapse.
Moving on to “Imaginary,” O’Brien confronts the reality of loving someone who never truly existed. People tend to either build a person up or tear them down. When infatuated with someone, individuals look past obvious flaws and imagine fulfilling their wildest dreams.
In reality, no one can check every single one of the boxes on the metaphorical relationship list. No man or woman is perfect. Someone’s shortcoming will always come to the surface, eventually.
Sadly, many times people are in it too deep to back out easily. Hearts break, lies are told, and at least one person is left picking up the pieces.
Flesh and blood cannot actualize a higher purpose. As the Bible says, “For whenever our heart condemns us, God is greater than our heart, and He knows everything.” (1 John 3:20)
God-given desires are part of the human design. Only He knows what will fulfill someone, and it isn’t likely the person down the street filing for their third divorce.
As tracks go on this album, “Imaginary” fares pretty well. The sonic imperfections are less audible and hold up better to the musician’s library.
After a handful of incognito theological observations, O’Brien decides to make a more blatant existential musing with “Heaven.”
Returning to her languid guitar work, the songsmith ponders, “If we don’t go to heaven, where the hell does it all go? Is everything just nothing?
Is it all just one big show?”
These questions aren’t from a truly contemplative mind but from a subverter hoping to tear down the walls of belief. Instead of building a valid argument, the performer hopes to sow uncertainty in the believer’s conscience. This dispute embraces toxicity, not understanding.
Romans 15:13 says, “May the God of hope fill you with all joy and peace as you trust in Him, so that you may overflow with hope by the power of the Holy Spirit.” This is what one should be building towards, not exclusion and severance.
In conclusion, ‘Pixie’ is far from the worst album of 2026, yet it holds no candle to Olivia O’Brien’s recent EPs or even her major-label releases. The uncertainty of direction and the indolent craftsmanship fail to impress even the most diehard of fans. While forgiveness is divine, a well-earned reputation is easy to tarnish.
A general lack of creativity stains a star’s public image, smearing the positive reflection they once held. While not unsalvagable, O’Brien’s future appears to be an uphill battle from here. Regaining her footing isn’t impossible, but finding the right path to move forward will be difficult.
This question remains: what is the next course of action? Should she regroup, evaluate the past and what led to her success, or could a further push outside the box spark her creative awakening?
Only time and introspection can heal this wound; let’s hope this self-inflicted injury doesn’t leave a permanent scar.
What is your favorite track on ‘Pixie?’ Let us know in the comments below!
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Charles E. Henning
Self-proclaimed "entertainment guru" Charles E Henning fills his free time reading books, watching movies, and listening to music. While not always up on the latest trends, he is consistently willing to dissect the themes of pop culture.