Last Thursday Olivia Rodrigo released her debut Christmas track “Take Me Home (4 Christmas)”, a choice that sparked considerable debate. While holiday music often divides listeners, this early attempt appears well‑received in my view.
In recent days the internet has questioned whether Rodrigo’s song echoes the 1981 Waitresses classic “Christmas Wrapping.” Although the vibe is akin to the original, there is no plagiarism. Rodrigo proactively reached out to band member Christopher Butler months before the release, who publicly defended the pop star as accusations mounted. Robbie Williams has now entered the discussion after the resemblance to his 2012 hit “Candy” was noted.
Saturday’s tweet from Williams, “Happy Christmas @oliviarodrigo x,” was initially read as a subtle jab. Today he clarified on Instagram that he was not attacking Rodrigo; rather, he was responding to a trend of over‑analyzing similarities in music. In his post he noted how cultural commentary can become a vortex, and he playfully remarked that Rodrigo’s frequent use of profanity on stage was noteworthy: “I can’t believe how much she swears on stage. I’m a Sweary Mary, but I’m making her look like a Victorian schoolmistress.”
There has often been a growing frustration on my part regarding industry practices. Critics sometimes attack fellow artists for uncanny similarities in melodic or harmonic structures. I can partially sympathize with such accusations, and some of them are valid. In most cases, however, the claims are baseless and arise from either coincidence or deliberate sabotage. Throughout my career I have faced relentless comparisons, yet I have remained indifferent to those who lack genuine concerns. Occasionally, the question becomes whether the accuser is simply amused. With music’s vast well of shared elements, it is inevitable that songs intersect. Nevertheless, I maintain that genuine theft demands protection, while treating every vague resemblance as evidence of infringement is counterproductive. Such punitive attitudes risk stifling creativity by discouraging experimentation.
Turning to Olivia Rodrigo, I have admired her work since the release of “Brutal.” The record is exceptional; it is the kind of album I wish I had produced. Moreover, I find her onstage profanity striking and I can’t help but notice that. It feels as though she may have inadvertently echoed a melodic idea from one of my compositions. While the similarity is unavoidable in any musical landscape, genuine theft demands a distinct standard. I am prepared to defend my rights, yet I believe we should not treat every minor parallel as a copyright infraction. If we continue to punish accidental overlaps, we stifle the creative impulse that fuels innovation. I’m not going after her. Because at some point, sanity must prevail.
And I don’t know whether there’s technically a publishing issue, a copyright issue, or no issue whatsoever. I’m already swearing far more than necessary. Lots of love and Happy Christmas
Rob x