Filmmaker Cameron Crowe has biopics on the brain, being in late-stage development on his long-planned Joni Mitchell movie, the casting of which is still unknown. So he used his Q&A with Olivia Rodrigo Tuesday night at the Grammy Museum to ask her about casting thoughts — not for his own film, but for a theoretical one about her. Oh, no, that’s Monica.’ So, maybe her.” “Good choice,” Crowe responded.
You have to cast it.” Even if she’s an old soul, a biopic about the 23-year-old is something that’s unlikely to happen any year or decade soon, but in the theoretical world where it could happen this early, there’s little doubt that it would be a very bankable box-office attraction. Rodrigo — who is just a few days out from having successfully organized and presided over her own music festival, Daisy Chain Fields — is easily one of the most popular figures in pop music. One of the most respected, too, with her third album, “You Seem Pretty Sad for a Girl So in Love,” being one of 2026’s best-reviewed albums, on top of its preordained bestseller status.
She’s going to need some kind of fall before she’s eligible for a movie’s rise-and-fall-and-rise storyline, but right now there are no blips in sight. The small audience that gathered on the rooftop of the Grammy Museum for a conversation and acoustic performance shared a sense they’d won the pop lottery this week, sitting among an audience of about 200, instead of among the 45,000 who’d just attended Daisy Chain Fields (which had proven a pretty tough ticket itself, being an instant sellout). In the back of the outdoor room, meanwhile, were a couple of dozen noticeably older industry-fan types, some of whom will surely be shortly casting preliminary ballots for the Grammys, where Rodrigo is expected to enjoy a high profile this year.
In her roughly half-hour performance with the acoustic guitarist and pianist from her all-female band providing the accompaniment, Rodrigo sang versions of the recent album’s “Drop Dead,” “Stupid Song,” “Maggots for Brains,” “Less” and “The Cure,” all of which — not to foster any FOMO — even more stirring than their full-band versions in Irvine three nights earlier. (Actually, “Less” didn’t get sung at Daisy Chain. With it being acknowledged by Rodrigo as the saddest song on the album, and quietest too, it’ll be interesting to see whether it gets picked up for her soon-to-launch arena tour or left out.) Prior to that mini-set, Rodrigo sat for 33 minutes of questions from Crowe, resuming his intermittent music-journo career, and praising the singer as ” someone who really knows how to use her popularity well. She truly makes the future even better than the best of the past.” When Crowe asked how she was feeling coming out of her big weekend, Rodrigo, who is nothing if not professsional and polite to a fault, backtracked to explain that “I run this festival called Daisy Chain Fields,” as if there was anyone on the roof who hadn’t been there or tried.
Asked in a card submitted from the audience for favorite memories of the day, Rodrigo said, “Oh my gosh, so many. There’s images of girls braiding each other’s hair. There were girls at the Bikini Kill set that were singing along to every single lyric of ‘Rebel Girl.’ They were like 7 years old.
It was incredible.” Inevitably she got to the charity component, where $20 million was raised for 10 organizations partially or entirely benefitting women and girls. One of the organizations that Daisy Chain benefited is National Domestic Workers Alliance, which is basically nannies and house cleaners, and they try to provide services and help them have a living wage. It’s just this really beautiful organization.
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