During the 2024 Grammy Awards, music icon, Taylor Swift, made waves once again. No, I don’t mean by her historic fourth “Album Of The Year” win for her tenth studio album, Midnights. Earlier in the night, Swift won “Best Pop Vocal Album” and in the speech, she announced a brand new album, The Tortured Poets Department. The hype leading up to its release was grand.
Up until the drop of the album, Swift didn’t release any singles or snippets from the album. Nobody knew whether it would be synth-pop like her last record, Midnights, or if it would be softer like folklore. Personally, I was nervous to see how the album would be sonically. The album before The Tortured Poets Department, Midnights, was not a favorite of mine sonically or lyrically. Though a great album, it lacked the lyrical elements that made its predecessors, folklore and evermore, brilliant. However, being the devoted “Swiftie” that I am, I was not going to let any apprehension get in the way of my listening experience for The Tortured Poets Department.
The album was officially released on April 18 at 11 pm CST. However, Swift always has some tricks up her sleeve. Right as the album was released, a countdown to 1 am was posted on her website. Fans, including myself, were left waiting for whatever Swift had in store. At 1 am, Swift announced that The Tortured Poets Department is a double album, and the second part is titled The Tortured Poets Department: The Anthology. On top of the sixteen original tracks, Swift released fifteen more at 1 am, totaling 31 new songs.
With many albums, especially Swift ones, it can take time to process and digest. Each day after release I find myself relistening to ones that I had upon first listened not liked as much and finally understanding it better. For that reason, I have waited to write this review to make sure that my opinions were more well-informed. Due to the length of this one, it was even more important for me to listen as much as I could before giving my takes.
For me, when listening to music, specifically Swift’s, I pay attention to the lyricism first, and production second. Swift is always known and recognized for her pen game. I always appreciate the lyrics and the stories that a song can tell. Of course, production and vocals also matter. However, stylistically, I can be more fluid.
The album opens with a track called “Fortnight (Feat. Post Malone).” When the tracklist was released, I was quite interested in how this song would turn out. Malone’s vocals are very distinct and I was curious how/if they would blend. As aforementioned, nobody knew the sound of this record and so “Fortnight” was the introduction to the entire new era Swift was entering. Upon my first listen and first arrival into this era, I was a bit concerned. To me, it sounded very similar to Midnights, which I didn’t want. The lyrics sounded okay, but nothing special. However, with many of Swift’s songs, it took me a few listens to fully understand the song. While I still think that sonically it is nothing special, I now understand the story better and like it a lot more than upon release. Malone and Swift sound very nice together and I think that it has quite a catchy hook. My biggest issue with this song now, however, is one that could go for most of Swift’s collaborations (except for folklore and evermore): it is unnecessary. For me, while Malone doesn’t ruin the song, his presence doesn’t add anything interesting. It very well could’ve been a solo track. Swift’s collaborations often seem like a random side piece.
Moving onto the title track of the album, I was very intrigued. “The Tortured Poets Department” is quite an interesting title. Going into the song, I already had many questions. However, Swift had more, asking, “Who uses typewriters anyway?” Upon first listening, I enjoyed it. It told a very interesting story and had a very catchy melody. The production of this song was one of the best displays of how I think lyricism and pop music can mix very well together. Many people criticized this song for some of its obscure lyrics like “We declared Charlie Puth should be a bigger artist” or “Like a tattooed golden retriever.” However, I think that just goes to show the central theme of the album which is mania. In a written prologue, Swift says that she was going through a manic episode during this period of her life. I believe that some of the wilder lyrics on this track and album show how down-bad she previously was. Overall, I’ve consistently enjoyed this song and haven’t changed my opinion all too much.
The next track is entitled, “My Boy Only Breaks His Favorite Toys.” This song is, in my opinion, one of the weakest on the album. While I understand the message, the song feels quite elementary both sonically and lyrically. After listening for almost two weeks now, I still haven’t found a new light to it yet. It falls low on my ranking. Track four is called “Down Bad”. Sonically, it is nothing special, but it is not bad. Lyrically, it’s relatable, but, due to all of the profanity, it can take away from Swift’s more poetic approach. So while I am not down bad for the song, I don’t think that it’s down bad.
The fifth track on Swift’s albums is notorious amongst the fandom. Swift always chooses the most vulnerable and emotional song on the album. Track five for this record is called, “So Long, London.” When the tracklist was released, this was the song that I was most excited about, as Swift had just ended her relationship with her British partner, Joe Alwyn. Well, it did not disappoint. Up until this song on the album, I was not impressed. Though I wasn’t bored, nothing seemed to stand out. However, Swift’s vulnerability was both heartbreaking and majorly impressive on this track. Lyrically, it told a story of a relationship that fades due to the other partner’s neglect. However, for me, what was most interesting was Swift’s emotional vocals. In the verses, Swift is screaming and the effect does not go unnoticed. Swift’s screaming behind the main vocals sound as if she is pleading with her lover, holding onto a relationship that is quickly fading. Though I’m not sure how this track five ranks amongst the other ten, this song truly stands on its own.
In “But Daddy I Love Him,” Swift sings about loving a man that her family and hometown disapprove of. Eventually, the family comes around and approves of the man. In this almost six-minute song, Swift truly maximizes her storytelling skills. She sets the scene in a privileged setting, mentioning upper-class references, leading the listener to believe that her family and critics are snobby and uptight. The message and turnaround of this song are very reminiscent of one of her earliest hits, “Love Story.” Though it’s not one of my favorites on this record, the storytelling, production, and catchy hook on this song is undeniably impressive. To me, the intersectionality is the epitome of a Taylor Swift song.
“Fresh Out The Slammer” follows, as Swift sings about finally being free from a relationship. I love the chorus melodies of this song. However, lyrically and sonically, it feels a little bit boring. There is no bridge, which Swift is known for, and only a slow outro. If the song was built up a little bit more, it would hit a lot harder than it does. Though promising, I think that it lacks excitability, due to the song not building up as much as many other Swift songs do.
The next song, “Florida!!! (Feat. Florence + The Machine)” is a soft rock song about escaping one’s problems and going to Florida. At first, I didn’t love it. I thought it was a bit on the nose and boring. However, the more I listened, I started to get into the melodies and found the stories told within the verses compelling. My criticism of Swift’s collaborations still stands, however. I enjoy Florence + The Machine on this, but again, it seemed unnecessary and it would’ve been fine without it.
The following track has grown on me significantly. “Guilty As Sin?” is a soft pop song about fantasizing about someone. The hook is very catchy and Swift very accurately portrays that feeling of pining away. It took me a few listens to fully absorb it, but now it is ranked top six on this album.
In “Who’s Afraid Of Little Old Me?”Swift channels her reputation era. From the first listen, I was obsessed with this song. Swift takes on a villain persona and sings about how events that she’s been through have caused her to become cold. She uses a circus metaphor to show how at times she feels very used and like a prop. Like in many songs, Swift somehow can make her unique experiences feel universal. Everyone can relate to feeling even just slightly changed by bad experiences.
“I was tame, I was gentle til the circus life made me mean. Don’t you worry, folks, we took out all her teeth,” Swift sings.
The preceding track, “I Can Fix Him (No Really I Can)” is my least favorite song from the standard edition of the album. Swift is very relatable, thinking that a bad man will change for her. However, for someone whose lyricism is always on point, this is a very low point for her. It seems that she is almost rambling with teenage petulance. Sonically, it’s also boring. I’ve sat with it for nearly two weeks now and the more I listen, I cringe. However, it does fit thematically to the album, showing the manic state that she was in during a certain relationship.
“loml” is my absolute favorite song on this album and makes up for my least favorite song by 13,000 miles. Before surely fans were wondering whether it stood for the love of my life or the loss of my life. Now that we know it is called the loss of my life. This song was an absolute favorite of mine. Ever since my first listen, the song has been beautifully poetic and its lyricism truly shines. The vocals show the emotions perfectly for the message that she is conveying. It was a favorite of mine and continues to be one that I replay the most. While some of the songs on this record feel like they’re lacking the emotional vulnerability that I crave, “loml” truly stands out in its storytelling and emotion.
The next track is called “I Can Do It With a Broken Heart.” This song is one of my favorites from this album as Swift sings about having to perform on her “Era’s Tour” while being heartbroken. The pre-chorus is ever so catchy and shows great insight as to how Swift was feeling all of 2023. The chorus is really fun and catchy. Swift shows off some sarcasm and humor as she talks about having to fake her emotions to the public. As mentioned prior, Swift always makes her personal story still very relatable. She does the exact same thing this time as everyone can relate to POA like they have to fake their emotions and put on a front.
The next song is called “The Smallest Man Who Ever Lived”. This song up until the bridge is a slow piano ballad, talking about a man who seems to be very insecure and toxic. When the bridge comes in, Swift gets close to the mic and starts absolutely singing her heart out. Swift is known for her iconic bridges and this will definitely go down in the history books as Swift beautifully sings the most vulnerable lyrics of the album. This song is the epitome of this record, showing the sadness, anger, grief, and acceptance of a breakup. I think that shows off her pen game to its greatest success, as Swift conveys a simple story or a complex story with beautiful lyrics.
The next song is called “The Alchemy” and is rumored to be about her current boyfriend, Travis Kelce. Kelce plays in the NFL and throughout the song, there are many many football references. Though it is a bit cliché, and I do criticize it for that, it is still very fun. Swift talks about touchdowns and uses a metaphor of trophies, as she feels she has won in finding her boyfriend. “The Alchemy” lyrics are quite clever, even if they’re cliché. It shows where Swift is in this very moment, and I am happy that she is finally in a better spot than she was for the rest of the album.
The standard version of the album ends with a song called “Clara Bow Clara Bow”. Bow was a famous movie star in the early 1900s; she was loved for being the “it girl” of her time. Swift then refers to Stevie Nicks, one of the greatest of all time. Swift talks about being famous, and how in the industry people quickly move on from one young star to the next. Then in the last verse of the song, Swift refers to herself and breaks the fourth wall.
“You look like Taylor Swift in this light, we’re loving it,” sings Swift.
Many believe that she is referring to Olivia Rodrigo, another young pop star. I really thought that it was beautifully written and had a very bittersweet message that was very clearly conveyed. It’s a soft and beautiful way to end the album.
Swift opens up the double album, The Anthology, with the song called “The Black Dog.” For me, “The Black Dog” and “loml” were my top two contenders for the number one rank, and on any given day I’m sure “The Black Dog” could be ranked number one on my list. It’s a ballad about how it feels weird how somebody does not miss you after you’ve been through so much. Swift’s vocals are truly astonishing and show off some of her best abilities, as the song displays her lower register, as well as her higher register. The production behind it is simple, yet very effective. It begins as a soft piano ballad that eventually builds into a strong power ballad. Lyrically, the song is beautiful and conveys such a strong message.
The second anthology track is called “imgonnagetyouback.” This song at first was nothing special in my opinion. Still, I don’t think it is anything special sonically. It has a very simple production and lyrics. It talks about wanting to get someone back whether it be by being with them again or destroying parts of their lives. This message is nothing new, providing nothing different. However, the more I’ve listened to it, the more I’ve grown to like the song. Though it’s nothing special, it’s a fun and catchy song that has begun to grow on me.
“The Albatross” is a song that is very reminiscent of her ninth album, evermore. This song is not very interesting to me lyrically or sonically. Though it’s not a bad song by any means, it’s not one that I enjoy revisiting due to its odd melody. However, I feel differently about the proceeding track called “Chloe or Sam or Sophia or Marcus.” When the tracklist for The Anthology first was released at 1 AM, I was very concerned about it due to all of the song titles with names. However, now that I know that it is about unrequited love, it feels like a very relatable song. Sonically, it is pleasant, and lyrically, Swift hits the nail on the head of the feeling of yearning.
The next song, “How Did It End?,” is hauntingly beautiful. It uses the metaphor of an autopsy, dissecting the end of a previous relationship. For me, this song hasn’t fully clicked yet. Though I enjoy it, I don’t listen to it often. However, it is a brilliant song and I’m sure at some point I will be obsessed with it, just like I am with the next song, “So High School.” Similarly to many of the other songs on this very long album, I didn’t take a liking to this at first. It is a cute love song. However, the more I’ve sat with it, the more the melodies and lyrics haven’t been able to leave my head.
“I Hate It Here” is a beautiful song that truly explores and encapsulates Swift’s mind. She sings about escaping reality and going to fantasy worlds, just like she does in her pandemic albums, folklore and evermore. It feels like an all too relatable song, yearning for something greater than our ordinary world.
“thanK you aIMee” was the most jarring song title to read at 1 am. No, the capital letters are not mistyped. Swift intentionally capitalized three letters to spell the name KIM. Many speculate that it is about Kim Kardashian. Those who get it, get it. The song is about a bully and appreciating how they pushed Swift to become better despite them. I love the story behind it and the chorus. However, it has gotten old quickly for me and I find it a bit annoying now.
The shortest song in Swift’s discography is “I Look In People’s Window” at two minutes and 12 seconds. It’s a cute song about looking for one person in everyone you meet. However, it is just a short little guitar song that quite frankly could’ve been left off of the album. “The Prophecy” is a song about feeling like the world is against you. While the message is relatable, the melodies are a bit boring and some of the lyrics feel forced. I like the central theme of the song, however, sonically, Swift lost me in this one. “Cassandra” recounts Swift’s past, using the metaphor of Cassandra, a Greek mythology character. The writing on this track is brilliant and Swift sounds great. Like many songs, I haven’t fully fallen in love with this track yet, but I am not discounting it, as it is a great song.
The tale of Peter Pan is just a children’s story. However, leave it to Swift to make it depressing. In “Peter,” Swift talks about an old flame that made promises to return but never did. This song is really sad but so beautiful. Sonically, it’s wistful and whimsical but lyrically tragic. It’s quite an underrated track. The next track, “The Bolter,” is not a favorite of mine. It’s nothing special lyrically or sonically. I feel the same with the song “Robin.” In “Robin,” Swift sings to her producer Aaron Dessner’s baby son, Robin. It is a very endearing song, but I feel it shouldn’t have made the album.
The closing track to the entire double album is called “The Manuscript.” This song is the most underrated song across both albums. Swift recounts a past relationship and how she’s moved forward from it, while still being affected. It’s a very cinematic song with beautiful lyrics. I have loved it ever since it was released!
Overall, I believe that The Tortured Poets Department is one of her strongest. After letting the songs marinate for three weeks, I can confidently say that it isn’t the newness that intrigues me anymore. Swift matches her brilliant lyricism with her catchy hooks and great production perfectly. Swift hits her stride and I can confirm that this album is poetic, not tortured. Below is a ranking of all 31 tracks!
- loml
- The Black Dog
- I Can Do It With A Broken Heart
- The Smallest Man Who Ever Lived
- The Manuscript
- Guilty as Sin?
- Who’s Afraid Of Little Old Me
- The Tortured Poets Department
- Fortnight (feat. Post Malone)
- So Long, London
- Clara Bow
- So High School
- Peter
- Florida!!! (feat. Florence + the Machine)
- Fresh Out The Slammer
- But Daddy I Love Him
- The Alchemy
- Down Bad
- Chloe or Sam or Sophia or Marcus
- imgonnagetyouback
- I Hate It Here
- thanK you aIMee
- My Boy Only Breaks His Favorite Toys
- I Can Fix Him (No Really I Can)
- I Look in People’s Windows
- Robin
- Cassandra
- How Did It End?
- The Prophecy
- The Bolter
- The Albatross
