Olivia Rodrigo Calls ‘The Cure’ Her Favorite Song Ever Made

imogenhartley
5 Min Read

Olivia Rodrigo announces ‘The Cure,’ dropping May 22 on World Goth Day, calling it her favorite song from her June 12 album

Olivia Rodrigo is keeping the momentum going. On Tuesday (May 19), the 23-year-old Grammy winner announced that The Cure,” the second single from her forthcoming third studio album, You Seem Pretty Sad for a Girl So in Love, will arrive this Friday, May 22, via Geffen Records. The reveal comes roughly a month after lead single “Drop Dead” debuted at No. 1 on the Billboard Hot 100, making Rodrigo the first artist in history to debut the lead singles from all three of her studio albums at the top of the chart.

Rodrigo shared the news on Instagram alongside what appears to be the song’s official artwork: a photograph of the singer in a pink top, her hands caught in a tangle of red cat’s cradle string arranged to spell out the single’s title. Her caption carried a weight of personal investment rare even by her standards.

It’s my favorite song on the album and one of my favorite songs I’ve ever made,” she wrote. “Couldn’t be more excited for you guys to hear it”

A Goth Day Release With Deep Cultural Roots

The timing of “The Cure” is no accident. May 22 is World Goth Day, a date that carries pointed significance for Rodrigo, who has long counted Robert Smith’s iconic British band of the same name among her all-time favorites. The mutual admiration is well-documented. Smith has publicly praised Rodrigo on multiple occasions, and in a moment that stopped the internet last summer, he joined her onstage during her Glastonbury Festival headline set for a cameo that felt like a full-circle crowning of her standing in rock culture.

The goth thread runs throughout the album’s current rollout. “Drop Dead,” written alongside producer Dan Nigro and co-writer Amy Allen, contains an explicit lyric nod to The Cure’s 1987 track “Just Like Heaven,” which peaked at No. 40 on the Hot 100: “You know all the words to ‘Just Like Heaven’ / and I know why he wrote them / Now that you’re standing right here.” That Rodrigo is now naming a second track, and arguably her most personal one, after the band signals a creative affinity that goes well beyond Easter eggs.

The album campaign itself has been one of the most carefully constructed of Rodrigo’s career. In March 2026, she told British Vogue that the record predominantly features “sad love songs,” describing her fondness for romantic tracks built on undercurrents of longing and fear, and confirmed that the project was heavily inspired by her time in London. In April, the album title was unveiled via a mural painted on a pink wall in Los Angeles.

The rollout then accelerated fast: a Coachella surprise appearance to debut “Drop Dead” live on April 18, a Saturday Night Live hosting debut on May 2 where she premiered the unreleased ballad “Begged,” and a headline slot at Spotify’s Billions Club Live event in Barcelona on May 8. Then came the Los Angeles murals, painted in handwritten-style text featuring lyric snippets widely believed to preview “The Cure,” including the line “It’ll never be the cure,” which fans connected to the single title within hours.

Vinyl, a Bonus Track, and a June 12 Countdown

Beyond the digital release, physical formats for “The Cure” are available to preorder now, with 7-inch vinyl and cassette editions listed on Rodrigo’s official webstore. Both include an exclusive bonus track titled “Never Do,” extending the release’s value for collectors and the fanbase that has driven her chart dominance across multiple album cycles.

You Seem Pretty Sad for a Girl So in Love arrives June 12. If the album’s first two singles are any indication of where Rodrigo’s ambition currently sits, both critically and commercially, the conversation around her third record is only just beginning.

Author
imogenhartley

Imogen Hartley

Imogen Hartley started writing about music because she was tired of reading reviews that described albums without actually saying anything. Based in Bristol, she covers emerging artists, pop culture, and the cultural politics of who gets called a serious musician and who gets dismissed. She spent several years contributing to music and culture outlets across the UK before joining Latetown Magazine, where she writes with the kind of directness that makes artists uncomfortable and readers come back.

Share This Article
Leave a Comment

Leave a Reply

Your email address will not be published. Required fields are marked *