The Tortured Poets Department

Last updated

Post Malone at the 2019 American Music Awards.png
Florence and the Machine-01.jpg
Post Malone (pictured, left) features on "Fortnight", and Florence and the Machine (frontwoman Florence Welch pictured, right) features on "Florida!!!".

The standard edition consists of 16 songs; Swift wrote three of them herself and co-wrote the rest mostly with Jack Antonoff and Aaron Dessner. Post Malone featured on and co-wrote "Fortnight", and Florence and the Machine featured on "Florida!!!", which was co-written by the band's frontwoman Florence Welch. [16] Swift produced all tracks with Antonoff and Dessner. [17]

The album is rooted in personal songwriting, exploring Swift's introspections on the events in her private and public lives. [18] [19] She was inspired by her tumultuous relationships [20] and the public perception of her celebrity [21] [22] to create lyrical narratives that were messy, unbridled, and unguarded, [19] [23] [24] containing meta-references to her personal life through allusions and name-dropping. [25] [26] Heartbreak is the primary topic, [27] [28] [29] [30] expressed via themes such as delusion, anger, mourning, and death. [31] [32] [33] [34] While the lyrics evoke vulnerable and devastating sentiments, they also incorporate humor and hyperbole. [23] [27] [32] Critics found them either self-aware [32] or self-conscious. [35] Swift considered the album a cathartic exercise [36] and described the content as "fatalistic" with overarching themes of "longing, pining, lost dreams". [21]

The album explores various themes to the extremes that Swift had not done before: erotic desires, forbidden love, and escaping from the public eye, [37] [38] with songs using melodrama as a narrative device [39] or drawing on Swift's country music roots to incorporate detail-heavy narratives. [40] While the album is rooted in autobiographical songwriting with confessional narratives and first-person perspectives, some songs are not strictly self-referential and employ fictional elements. [41] According to the literary critic Stephanie Burt, the album title evokes the European poète maudit ("cursed poet") archetype of self-destructive poets who suffered from love, such as Arthur Rimbaud, Charles Baudelaire, or Dylan Thomas. Burt argued that Swift both embraces and rejects this archetype by acknowledging her most intense emotions but also making fun of them with "barbed words, sharp hooks, and sarcastic replies". [42]

Critics characterized The Tortured Poets Department as a post-breakup album. [19] [37] [43] In her analysis for The Nation, Burt divides the album into three themes. First is the dissolution of a years-long relationship, represented by "So Long, London". Second is a short-lived yet intense romance in the immediate aftermath and its sudden fallout, anchored by the head-over-heels infatuation portrayed in "But Daddy I Love Him", the abandonment in "Down Bad", and the destructive ending in "The Smallest Man Who Ever Lived". Third is the pressure of fame that obliged Swift to keep performing in the public eye, represented by "Who's Afraid of Little Old Me?" and "Clara Bow". [44] Concurring with this narrative arc, Ann Powers wrote in NPR that The Tortured Poets Department reads like a novel where Swift explores how "emotional violence" is imposed onto women by their male lovers and even by themselves. [38]

Production and music

The Tortured Poets Department has a minimalist production [b] that draws on elements of various styles, including synth-pop, [c] pop rock, [48] dream pop, [49] soft rock, [50] and power ballads. [51] In an analysis for The New York Times, Jon Pareles wrote that Swift employs a "choppy pre-chorus, or chorus, that arrives in two-syllable bursts", adding to a steady verse structure and bringing a "hip-hop percussiveness" to the songwriting rooted country music. [52] Josh Kurp of Uproxx argued that the album cannot be categorized into a singular genre. [18] For Slant Magazine 's Jonathan Keefe, the minimalist quality puts the emphasis on the lyrical narratives, with the music being a "vibe" rather than a focus. [45]

Gnome-mime-sound-openclipart.svg
"Fortnight" (featuring Post Malone)
The synth-pop sound of the album's first volume is exemplified by "Fortnight", which features a pulsing synth bassline and backing vocals by Post Malone.
Problems playing this file? See media help.

The production styles of Antonoff and Dessner result in two distinct soundscapes. [24] Antonoff's synth–based approach [44] results in synth-pop songs [c] whose mid-tempo compositions are characterized by sustained pads and bass, electronic pulses, and sparse drum machine beats. [d] These elements were compared by critics to those on Swift's previous pop albums Midnights [e] or 1989 (2014), [f] but they create a more muted and less danceable sound. [60] [61] The first four tracks are exemplary of this: "Fortnight", "The Tortured Poets Department", "My Boy Only Breaks His Favorite Toys", and "Down Bad"; [22] [62] the last of which feature R&B inflections in its dynamic shifts and vocal cadences. [63]

Other songs incorporate stylistic influences from different genres, mostly rock [63] and country—the genre that defines Swift's early sounds. [40] [48] [49] "Fresh Out the Slammer" and "I Can Fix Him (No Really I Can)" evoke Western and country in its guitar tones, [64] [53] with the latter incorporating occasional slide guitar accents. [48] "Guilty as Sin?" has a 1990s soft rock sound and country/rock–sounding live drums that soften the electronic programming of other Antonoff–produced tracks. [63] [65] "Florida!!!" and "Who's Afraid of Little Old Me?" experiment with Americana and Southern gothic, [59] and "I Can Do It with a Broken Heart" is instrumented by percolating arpeggiated synths and thumping house beats. [26] [59]

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"But Daddy I Love Him"
The instruments and composition of "But Daddy I Love Him" display influences of country and rock—two of the styles that the album incorporates.
Problems playing this file? See media help.

The second half, primarily produced with Dessner, features acoustic arrangements that are driven by piano and strings. [24] [44] He and Swift also produced the majority of the second volume, The Anthology, [66] [54] consisting of mellow piano ballads. [67] His production style evokes folk arrangements, which critics categorized as folk-pop and chamber pop [60] [68] and compared to his works on Swift's 2020 albums Folklore and Evermore . [g] According to Burt, two of Dessner–produced tracks—"Clara Bow" and "So High School"—feature new textures and instrumental timbres from Swift's past songs; [44] the former has a string section performed by the London Contemporary Orchestra, [70] and the latter evokes 1990s rock styles such as indie rock and alternative rock. [22] [71] Two tracks that were jointly produced by Antonoff and Dessner—"But Daddy I Love Him" and "Thank You Aimee"—both have prominent country stylings, showcased through lush, sweeping string arrangements. [71] [56]

Swift mostly sings in the lower ranges of her vocal register to deliver rap-like, conversational verses; [26] [35] [38] the music professor Samuel Murray attributed this conversational quality to some of Swift's familiar devices including one-note melodies and recitative delivery. [39] On some songs, Swift experiments with her vocals in a wider range: "Guilty as Sin?" has a melisma chorus; [63] "The Smallest Man Who Ever Lived" features an alto delivery that reaches the bottom end of her range against a 7/4 time signature; and "Who's Afraid of Little Old Me?" has her singing in screechy soprano. [44]

Marketing

The album's official logo features its abbreviated title. The Tortured Poets Department Logo v2.png
The album's official logo features its abbreviated title.

Aesthetic

The lack of an apostrophe in the official title, as in The Tortured Poets' Department, was the subject of a debate over grammatical correctness. Scholars stated that Swift employed Tortured Poets as an attributive noun, as in the case with the 1989 drama film Dead Poets Society , and not as a possessive noun that warrants an apostrophe. [72] The cover artwork, photographed by Beth Garrabrant, is a black-and-white glamor photo shot of Swift lying on a bed wearing black lingerie: a see-through top and high waist shorts, [73] [74] [75] from the Row and Yves Saint Laurent. [74] [76] Both the artwork and title were parodied by numerous brands, organizations, sports teams, and franchises, and inspired numerous memes. [77] [78] [79] Media outlets described the album's visual aesthetic as gothic, especially dark academia. [80] [81] [82] [83]

Promotion and release

After the Grammy announcement, Swift revealed the standard track listing via social media on February 6, 2024. [16] Swift announced four physical editions that were each titled after a corresponding bonus track: "The Manuscript", "The Bolter", "The Albatross", and "The Black Dog"; she announced the latter three editions during the Australian and Singaporean shows of the Eras Tour. [84] She partnered with Target for an exclusive "Phantom Clear" collector's vinyl edition. [85]

Vinyl wrap advertising for the album on a New Routemaster double-decker bus in London in 2024 LTZ1764-17-20240520-174132.jpg
Vinyl wrap advertising for the album on a New Routemaster double-decker bus in London in 2024

The album was promoted on digital platforms like Apple Music, Spotify, YouTube, Instagram, and Threads, prompting Swifties to search for Easter eggs. [86] It included five Swift-curated Apple Music playlists containing her old songs inspired by the five stages of grief; [87] a pop-up library of curated articles at The Grove, Los Angeles, hosted by Spotify; [88] QR code murals in various cities worldwide that led to unlisted YouTube shorts on Swift's channel; [89] [90] a countdown to the album's release revealed upon refreshing Swift's Instagram profile; and special shimmer effects on Threads posts tagged with hashtags related to Swift and the album. [91] iHeartRadio and Sirius XM announced special programs with exclusive content from Swift to celebrate the album's release; the former temporarily rebranded as "iHeartTaylor". [92] [93]

Swift changed the setlist of the Eras Tour (2024) to include a new act for the album. Taylor Swift Eras Tour TTPD Set Fortnight 2.jpg
Swift changed the setlist of the Eras Tour (2024) to include a new act for the album.

The Tortured Poets Department was released on April 19, 2024. A double album edition, subtitled The Anthology and containing 15 bonus tracks, was surprise-released digitally two hours later. [94] Two days earlier, the standard edition of the album was leaked, [95] which resulted in the phrase "Taylor Swift leak" being temporarily banned from searches on the social media platform X (formerly Twitter). [96] The Tortured Poets Department was available in 19 physical variants—nine CD, six vinyl, and four cassette variants, with deluxe CDs and cassettes being exclusive to Swift's official website. [97] Physical copies of the album included an original poem by the American singer-songwriter Stevie Nicks. [98] "Fortnight" was released as the lead single in conjunction with the album, accompanied by a music video. [99] Universal Music released "I Can Do It with a Broken Heart" to Italian radio on July 2. [100] The Anthology was released onto vinyl and CD formats on November 29. [101]

From May 2024, starting with the Paris shows, Swift revamped the set list of the Eras Tour to include songs from The Tortured Poets Department in a new act, which she informally described as "Female Rage the Musical". [102] [103] [h] She released live versions of certain songs as bonus tracks on the physical album via her website exclusively to US customers. [107] Other limited editions of the physical album included acoustic versions of five tracks. [108] Limited digital variants contained first draft phone demo recordings of four tracks, and the Eras Tour live recordings of some tracks from the Paris, Stockholm, Lyon and London shows. [109] [110] [111] The release of bonus-track versions was a way for Swift and her fans to maintain the album's number-one position on the charts, a method Swift and other artists have previously utilized to boost album sales and chart positions. [112] [113] [114] [115]

Critical reception

Reviews

The Tortured Poets Department
Taylor Swift - The Tortured Poets Department (album cover).png
Standard cover
Studio album by
Taylor Swift
ReleasedApril 19, 2024 (2024-04-19)
Studio
  • Audu (Brooklyn)
  • Big Mercy (New York City)
  • Conway Recording (Hollywood)
  • The Dwelling (New York City)
  • Electric Lady (New York City)
  • Electric Feel (Los Angeles)
  • Esplanade (New Orleans)
  • Hutchinson Sound (Brooklyn)
  • Long Pond (Hudson Valley)
  • Miloco (London)
  • Narwhal (Chicago)
  • Pleasure Hill (Portland)
  • Prime Recording (Nashville)
  • Rue Boyer (Paris)
  • Smilo Sound (Orcas Island)
  • Tiny Telephone (Oakland)
  • Unknown locations (Biarritz, Los Angeles, Paris)
Genre
Length
  • 65:08
Label Republic
Producer
Taylor Swift chronology
1989 (Taylor's Version)
(2023)		The Tortured Poets Department
(2024)
The Tortured Poets Department: The Anthology
The Tortured Poets Department The Anthology.png
Digital double album cover
The Tortured Poets Department ratings
Aggregate scores
SourceRating
AnyDecentMusic?7.5/10 [116]
Metacritic 76/100 [i]
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [119]
Clash 8/10 [120]
The Daily Telegraph Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [j]
The Guardian Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [48]
The Independent Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [40]
NME Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [53]
Pitchfork 6.6/10 [k]
Rolling Stone Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [l]
Slant Magazine Star full.svgStar full.svgStar full.svgStar half.svgStar empty.svg [45]
The Times Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [121]

Upon release, The Tortured Poets Department divided music critics; [122] [123] secondary sources described the critical consensus as either positive [124] [125] or mixed. [126] According to the review aggregator Metacritic , The Tortured Poets Department received "generally favorable reviews" based on a weighted average score of 76 out of 100 from 24 critic scores. [117] Its second part, The Anthology, scored 69 from six critic scores on the website. [118]

A number of critics regarded the album a landmark in Swift's discography. Reviews from The Independent 's Helen Brown, [40] The Arts Desk 's Ellie Roberts, [23] The Times' Dan Cairns, [121] PopMatters 's Jeffrey Davies, [47] and Will Harris of Q praised the album as one of Swift's most solid outputs, considering the musical composition, vocal stylings and lyrical tonality as ambitious and tastefully experimental. [127] Others, including Variety's Chris Willman, [29] the i 's Ed Power, [80] and The Observer 's Kitty Empire, called it a quintessential Swift album containing some of the best songs of her career. [128]

Swift's songwriting was a source of compliment. The Line of Best Fit 's Paul Bridgewater dubbed it her most cohesive body of work to-date, finding the music sophisticated and the lyricism symbolic. [33] To Ludovic Hunter-Tilney of the Financial Times, the album is a stylistic evolution for Swift, with writing that marks a "characteristically appealing turn" into moody melodrama. [30] Alexis Petridis of The Guardian and Alex Hopper of American Songwriter thought that the album has Swift's wittiest lyrics, featuring nuanced musical choices that show Swift is "willing to take risks in a risk-averse era for pop" and "constantly evolving and pushing her limits", respectively. [48] [129] In a more measured review, Olivia Horn of Pitchfork felt the lyrics did not "distill an overarching emotional truth, tending to smother rather than sting." [56] Others, such as The New York Times ' Lindsay Zoladz, Slant Magazine's Jonathan Keefe, and Exclaim! 's Alex Hudson, described some lyrics as weak and overwritten; Hudson claimed that many of its tracks "mistake verbosity for poetry". [65] [45] [66]

The tumultuous mood and unconstrained emotion of the lyrics were also highlighted. Multiple reviews complimented the album's heavy, unfiltered emotion; [80] [19] [29] [130] Clash 's Lauren Webb described it as "a spell-binding, toxic, chaotic illustration" of deteriorating mental sanity. [120] Powers opined that The Tortured Poets Department shows Swift's newfound freedom, with a "lack of concern about whether these songs speak to and for anyone but herself". [38] In a similar perspective, rave reviews from Rolling Stone 's Rob Sheffield and Variety 's Chris Willman described the album as Swift's "gloriously chaotic" and "audacious, transfixing" project, respectively. [27] [29] To Willman, the album combines "cleverness with catharsis". [29] Consequence 's Mary Siroky, on the other hand, found this style of lyricism jarring and "outright bizarre" at times, and felt the album was an attempt at self-parody rather than a showcase of Swift's songwriting acumen. [57]

Many critics, including Zoladz, [65] NME 's Laura Molloy, [53] and Stereogum 's Tom Breihan, argued that Swift and Antonoff's collaboration on The Tortured Poets Department was uninventive due to a sonic similarity to their past collaborations. [26] [131] The New Yorker's Amanda Petrusich rather favored Dessner's input to the album as "gentler, more tender, and more surprising". [132] Horn and the BBC's Mark Savage felt the melodies were sonically monotonous and "staid", [36] [56] but others argued that the minimalistic approach complemented Swift's hyper-personal lyrics; [45] [128] [48] Hopper opined that "Swift's confidence as an artist is at a peak" with The Tortured Poets Department. [129] According to Mary Kate Carr of The A.V. Club , the album is "perfectly good" but arrived at a time when Swift has "nothing to prove" anymore, resulting in a stagnant point in her artistry; [133] this idea was shared by an anonymous, negative Paste review that criticized the album as rushed, hollow, and unrelatable. [25]

Post-review commentary

Various peer journalists and columnists cross-examined the album's critical reception. Publications considered The Tortured Poets Department a polarizing album; [32] [124] [134] The Ringer's Nathan Hubbard deemed it Swift's most controversial release since Reputation (2017). [135] Journalists from The New York Times [136] and Vox attributed this phenomenon to Swift's heightened fame and associated media "overexposure" between 2020 and 2024, including eight album releases, the influential Eras Tour, and her relationship with Travis Kelce. [12] Paste's anonymous review was singled out by other publications as "scathing"; [124] [137] Sumnima Kandangwa of the South China Morning Post opined that they hid their reviewer's identity because Swifties "can become quite spirited when it comes to protecting their favourite singer". [138] The album's Pitchfork score is Swift's lowest from the website. Sputnikmusic published reviews with three different ratings in a short period of time, each lower than the one before; Minh Anh of L'Officiel found this to be a confusing way to rate music. [139] Swift shared the album's positive reviews on her social media, tagging the respective authors, which some considered as a response to Paste and other unfavorable reviews. [140] [141]

A number of commentators opined that the initial reviews demonstrated a flawed approach of mainstream music criticism. [12] [142] [143] Bloomberg News' Jessica Karl wrote that the "lengthy" duration of the album made the reviewers "[stay] up until dawn to finish listening to an album" to publish, contributing to some reviews that were hasty, criticizing both the "exclamation-pointed digs" at Swift in Paste and the "instant classic" review by Rolling Stone. [142] In The Ringer, Nora Princiotti attributed the polarized reviews to the unexpected double album release, and Nathan Hubbard argued that some "cooler-than-thou" critics from sites like The New Yorker, The New York Times, and Paste used Swift's billionaire status to downplay the personal issues she detailed in the album. [135] Karl opined that some "reputable publications" catered gossip instead of a serious artistic analysis, [142] while Anh highlighted that reviews mentioned aspects of Swift's public image instead of focusing on the music. [139] The New Yorker's Sinéad O'Sullivan asserted that Swift's albums contain multiple layers of self-referential "lore", writing that the unfavorable reviews were due to critics not taking that into account or not allotting enough listening time. [144]

Some early critics of the album recanted and declared they were "hasty" in reviewing it, as per Slate's Chris Molanphy, who opined it has become a "widely agreed point" in later critical commentary that The Tortured Poets Department "grows on you" after more listens; Molanphy stated he liked the album better than he did a week before. [145] CNN's Oliver Darcy said he had judged The Tortured Poets Department quickly, stating that he reviewed it keeping in the mind its mixed critical reception, and found the album overlong and unimpressive in agreement with other critics, but a week later, "after spending more time with the two-hour sonic feast, more methodically touring through its subtleties and nuances, I am ready to declare that it is one of Swift's best works yet." Darcy opined that the album cannot be fully digested at "the speed of TikTok", and criticized reviewers who do not let music albums "marinate" and instead expect "instant satisfaction". [143]

Year-end lists

Select year-end rankings for The Tortured Poets Department
PublicationListRankRef.
Billboard The 50 Best Albums of 20248 [146]
Business Insider The Best Albums of 20245 [147]
The Independent The Best Albums of 202419 [148]
Los Angeles Times The 20 Best Albums of 20242 [149]
The New York Times Jon Caramanica's Best Albums of 202416 [150]
People The Top 10 Albums of 20244 [151]
Rolling Stone The 100 Best Albums of 202423 [152]
The Telegraph The 10 Best Albums of 20244 [153]
The Times The 25 Best Albums of 202410 [154]
Variety Chris Willman's Best Albums of 20241 [155]

Commercial performance

The Tortured Poets Department broke numerous consumption records, leading The Guardian to comment that it "cemented Swift as the biggest pop star this century by many metrics". [156] On Spotify, it became the most pre-saved album of all time; the most streamed album in a single day, surpassing 200 million and then 300 million streams and breaking the all-time record previously held by Swift's Midnights; and the first album to accumulate one billion streams in a single week, doing so in five days. [157] [158] The album also became the most streamed album in a single day on Amazon Music [159] and the most streamed pop album in a single day on Apple Music. [157] It amassed 1.76 billion streams globally within its first week of availability, an all-time record. [160] Republic Records reported global first-week consumption of four million units. [125]

In the United States, the album accumulated 1.6 million album-equivalent units in four days, [161] selling 700,000 vinyl LPs to break the record for the highest single-week vinyl sales previously held by Swift's 1989 (Taylor's Version) (2023). [157] It broke the single-week streaming record previously held by Drake's Scorpion (2018), amassing 799 million on-demand streams in six days. [157] After a full week of availability, The Tortured Poets Department debuted atop the Billboard 200 with 2.61 million units, including 1.914 million pure copies and 891.34 million on-demand streams. It became Swift's 14th number-one album, tying her with Jay-Z for the most chart toppers among soloists. The album also registered the second-largest week by overall units and the third-largest week by pure sales in Billboard history. [97] The album continued to chart at number one on the Billboard 200 for 17 total non-consecutive weeks, becoming the longest-leading chart topper in Swift's career, [162] and contributed to the number-two peaks of albums such as Billie Eilish's Hit Me Hard and Soft , [163] [164] ¥$'s Vultures 2 , [165] [166] and Chappell Roan's The Rise and Fall of a Midwest Princess . [167] [168] It is also the third album in history and first by a female artist to spend its first 12 weeks atop the chart. [169] [m]

All 31 songs from The Anthology debuted on the Billboard Hot 100, occupying the entire top 14 simultaneously for the first time in chart history. Swift set the record for most simultaneous entries by a female artist (32) and became the first woman to surpass 50 career top-10 songs. [170] By July 2024, The Tortured Poets Department has sold 2.47 million pure sales and accumulated 5.30 million units in the United States. [171] Sales were boosted by multiple variants of the album, with double-digit variants in digital and CD mediums. [172]

The Tortured Poets Department broke chart records in other countries. In Germany, it recorded the largest streaming day for an album and debuted atop the chart with the highest sales week for an international solo artist in seven years. [173] In the United Kingdom, it became the fastest-selling album by any artist in seven years and by a non-British artist in 18 years, and it tied Swift with Madonna for the most female number-one albums on the UK Albums Chart (12). [174] It became the fastest-selling vinyl album since 1994 and Swift's album with the most weeks at number one (10). [175] [176] On the Australian ARIA Charts, The Tortured Poets Department became Swift's 13th number-one album, a record among female artists; its songs set records for the most simultaneous entries by a single artist in the top 10 (10), top 50 (29), and top 100 (31) of the singles chart. [177] Debuting atop the Canadian Albums Chart as Swift's 14th consecutive chart topper, the album registered the highest single-week vinyl sales and streaming figures in chart history. [178] Ten tracks from the album debuted on the Billboard Brasil Hot 100. [179]

Accolades

Awards and nominations for The Tortured Poets Department
OrganizationYearCategoryResultRef.
Nickelodeon Kids' Choice Awards 2024 Favorite AlbumNominated [180]
Los 40 Music Awards 2024 Best International Album Nominated [181]
ARIA Music Awards 2024 Best International Artist Won [182]
Billboard Music Awards 2024 Top Billboard 200 Album Won [183]
Grammy Awards 2025 Album of the Year Pending [184]
Best Pop Vocal Album Pending

Track listing

The Tortured Poets Department track listing
No.TitleWriter(s)Producer(s)Length
1."Fortnight" (featuring Post Malone)
3:48
2."The Tortured Poets Department"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
4:53
3."My Boy Only Breaks His Favorite Toys"Swift
  • Swift
  • Antonoff
3:23
4."Down Bad"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
4:21
5."So Long, London"
  • Swift
  • Dessner
4:22
6."But Daddy I Love Him"
  • Swift
  • Dessner
  • Swift
  • Dessner
  • Antonoff
5:40
7."Fresh Out the Slammer"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:30
8."Florida!!!" (featuring Florence and the Machine)
  • Swift
  • Antonoff
3:35
9."Guilty as Sin?"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
4:14
10."Who's Afraid of Little Old Me?"Swift
  • Swift
  • Antonoff
5:34
11."I Can Fix Him (No Really I Can)"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
2:36
12."Loml"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:37
13."I Can Do It with a Broken Heart"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:38
14."The Smallest Man Who Ever Lived"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:05
15."The Alchemy"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:16
16."Clara Bow"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:36
Total length:65:08
The Tortured Poets Department: The Anthology extended track listing
No.TitleWriter(s)Producer(s)Length
17."The Black Dog"Swift
  • Swift
  • Antonoff
3:58
18."Imgonnagetyouback"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:42
19."The Albatross"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:03
20."Chloe or Sam or Sophia or Marcus"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:33
21."How Did It End?"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:58
22."So High School"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:48
23."I Hate It Here"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:03
24."Thank You Aimee"
  • Swift
  • Dessner
  • Swift
  • Dessner
  • Antonoff
4:23
25."I Look in People's Windows"
  • Swift
  • Antonoff
  • Patrik Berger
  • Swift
  • Antonoff
  • Berger
2:11
26."The Prophecy"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:09
27."Cassandra"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:00
28."Peter"Swift
  • Swift
  • Dessner
4:43
29."The Bolter"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:58
30."Robin"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:00
31."The Manuscript"Swift
  • Swift
  • Dessner
3:44
Total length:122:21

Notes

Personnel

Musicians

Technical

Charts

Certifications

Certifications for The Tortured Poets Department
RegionCertification Certified units/sales
Australia (ARIA) [222] 2× Platinum140,000‡
Austria (IFPI Austria) [223] Gold7,500‡
Brazil (Pro-Música Brasil) [224] Gold20,000‡
Denmark (IFPI Danmark) [225] Platinum20,000‡
France (SNEP) [226] Platinum100,000‡
Germany (BVMI) [227] Platinum150,000‡
Italy (FIMI) [228] Platinum50,000‡
New Zealand (RMNZ) [229] 3× Platinum45,000‡
Poland (ZPAV) [230] Platinum20,000‡
Portugal (AFP) [231] Platinum7,000‡
Spain (PROMUSICAE) [232] Platinum40,000‡
Switzerland (IFPI Switzerland) [233] Gold10,000‡
United Kingdom (BPI) [234] 2× Platinum600,000‡
United States (RIAA) [235] 6× Platinum6,000,000‡

‡ Sales+streaming figures based on certification alone.

Release history

Release dates and formats for The Tortured Poets Department
Initial release dateEdition(s)Format(s)Ref.
April 19, 2024
  • Standard
 [236]
  • The Manuscript
  • The Bolter
  • The Albatross
  • The Black Dog
 [237] [238]
The Anthology
  • Digital download
  • streaming
 [94]
November 29, 2024
  • CD
  • vinyl LP
 [101]

Notes

  1. ↑ Also shortened to Tortured Poets or abbreviated as TTPD
  2. ↑ As discussed by Slant Magazine 's Jonathan Keefe, [45] Sputnikmusic 's Hugh G. Puddles, [46] and PopMatters 's Jeffrey Davies [47]
  3. 1 2 As discussed by Variety 's Chris Willman, [29] NME 's Laura Molloy, [53] and The Daily Telegraph 's Neil McCormick [54]
  4. ↑ As discussed by NPR's Ann Powers, [38] the New Statesman 's Anna Leszkiewicz, [35] the Irish Independent 's John Meagher, [55] Pitchfork 's Olivia Horn, [56] Consequence 's Mary Siroky, [57] Esquire 's Alan Light, [24] and MusicRadar 's Ben Rogerson [58]
  5. ↑ As discussed by The Guardian 's Alexis Petridis and Laura Snapes, [48] [59] the BBC's Mark Savage, [36] and Rolling Stone 's Rob Sheffield [27]
  6. ↑ As discussed by Rogerson, [58] Petridis, [48] and Snapes [59]
  7. ↑ As discussed by the BBC's Mark Savage, [36] The A.V. Club 's Mary Kate Carr, [69] The New Yorker 's Tyler Foggart, [49] and Exclaim! 's Alex Hudson [66]
  8. ↑ The said concert technically took place in Nanterre, but a preponderance of media outlets reported the location as Paris. [104] [105] [106]
  9. ↑ According to Metacritic, the standard edition received a score of 76/100, while The Anthology volume received a score of 69/100. [117] [118]
  10. ↑ Neil McCormick from The Daily Telegraph rated the standard edition and The Anthology volume each with a 4/5 rating. [54]
  11. ↑ Pitchfork critics rated the standard edition 6.6/10 and The Anthology volume 6.0/10. [56]
  12. ↑ Rob Sheffield from Rolling Stone rated the standard edition 5/5 [27] and The Anthology volume 4/5. [67]
  13. ↑ After Stevie Wonder's Songs in the Key of Life (1976) and Morgan Wallen's One Thing at a Time (2023).

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<span class="mw-page-title-main">Taylor Swift albums discography</span>

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"The Tortured Poets Department" is a song by the American singer-songwriter Taylor Swift and the title track of her eleventh studio album (2024). Swift wrote and produced the song with Jack Antonoff. A synth-pop and jangle pop song, "The Tortured Poets Department" incorporates hushed drums, sparkling synths arpeggios, and electronic sounds. Its lyrics satirize a relationship between two pretentious artists, referencing the poets Dylan Thomas and Patti Smith and the musician Charlie Puth.

"Down Bad" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). She wrote and produced the track with Jack Antonoff, who played the song's instruments with members of his band Bleachers. "Down Bad" is about a momentary infatuation, comparing falling in love with being abducted by an extraterrestrial being. Musically, it is a synth-pop song with R&B elements in its groove and vocal cadence.

"So Long, London" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). She wrote and produced the track with Aaron Dessner. A downtempo chamber pop and synth-pop tune, "So Long, London" is set over to 4/4 house beats and has a piano and synthesizer instrumentation. Its lyrical content concerns a failed romance and explores a narrator processing the fallout and its aftermath.

"But Daddy I Love Him" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). Swift and Aaron Dessner wrote the track, and they produced it with Jack Antonoff. "But Daddy I Love Him" has a balladic production consisting of fingerpicked guitars, live drums, and dynamic shifts in the refrain. Critics categorize its genre as country, country pop, electronica, and folk rock. In its lyrics, the narrator affirms her love for a seemingly troublesome romantic interest and condemns the detractors of her love life, telling them she is its only authority and calling out their self-righteousness.

"Florida!!!" is a song by the American singer-songwriter Taylor Swift featuring the English band Florence and the Machine, from Swift's eleventh studio album, The Tortured Poets Department (2024). She wrote the track with the band's frontwoman Florence Welch, who also sang lead vocals, and produced it with Jack Antonoff. "Florida!!!" is a Southern Gothic power ballad with elements of Americana and indie rock, showcased through the guitars and drums. Its lyrics are about escaping from unpleasant circumstances, rejecting one's own wrongdoings, and indulging in negative thoughts, using Florida as a geographical metaphor.

"Guilty as Sin?" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). She wrote and produced the song with Jack Antonoff. It is a 1990s-tinged pop rock and soft rock track combining rock, country, and folk styles, accentuated by guitars and live drums. The lyrics see Swift's character sexually fantasizing about a man while being in a relationship.

"Loml" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). Written and produced by Swift and Aaron Dessner, it is a soft, melancholic piano-led ballad. The song's lyrics mourn the loss of a short-lived relationship that leaves a long-lasting mark, using extensive imagery related to death such as phantoms, graveyards, and "Holy Ghost". Whereas "Loml" is a popular colloquialism for "love of my life", the conclusion of the song denotes it as "loss of my life".

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"I Can Do It with a Broken Heart" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). Written and produced by Swift and Jack Antonoff, "I Can Do It with a Broken Heart" is about Swift's perseverance and professionalism while going through personal hardships during the early days of the Eras Tour. Its music contrasts the lyrics, characterized by an upbeat electropop, dance-pop, and new wave production, incorporating house and bubblegum beats, and salient synth arpeggios.

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"The Alchemy" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). Swift wrote and produced the track with Jack Antonoff. A pop rock and electropop track with R&B influences, "The Alchemy" is a love song about a burgeoning romance where two people cannot resist their chemistry. The lyrics use extensive football imagery to depict a sense of triumph.

<span class="mw-page-title-main">Fortnight (song)</span> 2024 single by Taylor Swift featuring Post Malone

"Fortnight" is a song by the American singer-songwriter Taylor Swift, featuring fellow American singer-songwriter Post Malone. The two artists wrote the track with Jack Antonoff. It was released by Republic Records as the lead single from Swift's eleventh studio album, The Tortured Poets Department, on April 19, 2024. Produced by Swift and Antonoff, "Fortnight" is a 1980s-inspired downtempo electropop, synth-pop, and new wave ballad instrumented by a pulsing synth bassline. Its lyrics portray an impactful two-week romance: Swift's narrator—a woman in an unhappy marriage—rekindles with an ex-lover who is also married, and the two vow to escape to Florida.

"Thank You Aimee" is a song by the American singer-songwriter Taylor Swift, from the double album edition of her eleventh studio album, The Tortured Poets Department: The Anthology (2024). Swift and Aaron Dessner wrote the track, and the two produced it with Jack Antonoff. A country and folk track instrumented by guitar strums, its lyrics are about dealing with a high-school bully.

"So High School" is a song by the American singer-songwriter Taylor Swift from the double album edition of her eleventh studio album, The Tortured Poets Department: The Anthology (2024). Written and produced by Swift and Aaron Dessner, "So High School" has a 1990s-tinged production incorporating various rock styles like alternative rock, indie rock, and pop rock. The lyrics are about how a romantic relationship makes Swift relive the feeling of young love.

"Who's Afraid of Little Old Me?" is a song written and recorded by the American singer-songwriter Taylor Swift for her eleventh studio album, The Tortured Poets Department (2024). Produced by Swift and Jack Antonoff, the track is a Southern Gothic-inspired chamber pop song that incorporates dense echo and strings. The lyrics were inspired by Swift's bitter feelings while reflecting on her teenage rise to stardom: they compare a narrator to a wicked witch and a trapped circus animal, detailing how her upbringing in an asylum contributes to her callous and viscous nature.

"The Black Dog" is a song written and recorded by the American singer-songwriter Taylor Swift for her eleventh studio album, The Tortured Poets Department (2024). She and Jack Antonoff produced the song, which is a slow-building post-industrial ballad instrumented by sparse piano. Its chorus contains a dynamic shift, crescendoing with multitracked vocal harmonies and thumping synth beats towards its conclusion. In the lyrics, Swift's character is heartbroken and resents an ex-partner after finding him with another woman at a bar called "the Black Dog".

"Fresh Out the Slammer" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). Written and produced by Swift and Jack Antonoff, it has a Western, country pop, and country rock production driven by twangy guitars, looping synths, and a hazy atmosphere. In the lyrics, a narrator contemplates on how her past relationship made her feel trapped and uses another lover as a means to escape immediately after that relationship ends.

References

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  220. ↑ "Taylor Swift und Artemas toppen Musik-Jahrescharts 2024" (in German). GfK Entertainment charts. December 6, 2024. Retrieved December 6, 2024.
  221. ↑ "Year-End Charts: Billboard 200 Albums (2024)". Billboard . Retrieved December 14, 2024.
  222. ↑ "ARIA Charts – Accreditations – 2024 Albums" (PDF). Australian Recording Industry Association . Retrieved September 27, 2024.
  223. ↑ "Austrian album certifications – Taylor Swift – The Tortured Poets Department" (in German). IFPI Austria. Retrieved May 29, 2024.
  224. ↑ "Brazilian album certifications – Taylor Swift – The Tortured Poets Department" (in Portuguese). Pro-Música Brasil . Retrieved September 19, 2024.
  225. ↑ "Danish album certifications – Taylor Swift – The Tortured Poets Department". IFPI Danmark . Retrieved June 3, 2024.
  226. ↑ "French album certifications – Taylor Swift – The Tortured Poets Department" (in French). Syndicat National de l'Édition Phonographique . Retrieved July 8, 2024.
  227. ↑ "Gold-/Platin-Datenbank (Taylor Swift; 'The Tortured Poets Department')" (in German). Bundesverband Musikindustrie . Retrieved August 14, 2024.
  228. ↑ "Italian album certifications – Taylor Swift – The Tortured Poets Department" (in Italian). Federazione Industria Musicale Italiana . Retrieved July 15, 2024.
  229. ↑ "New Zealand album certifications – Taylor Swift – The Tortured Poets Department". Recorded Music NZ . Retrieved November 19, 2024.
  230. ↑ "OLiS - oficjalna lista wyróżnień" (in Polish). Polish Society of the Phonographic Industry . Retrieved July 3, 2024. Click "TYTUŁ" and enter The Tortured Poets Department in the search box.
  231. ↑ "Portuguese album certifications – Taylor Swift – The Tortured Poets Department" (PDF) (in Portuguese). Associação Fonográfica Portuguesa . Retrieved August 1, 2024.
  232. ↑ "Spanish album certifications – Taylor Swift – The Tortured Poets Department". El portal de Música. Productores de Música de España . Retrieved April 29, 2024.
  233. ↑ "The Official Swiss Charts and Music Community: Awards ('The Tortured Poets Department')". IFPI Switzerland. Hung Medien. Retrieved June 17, 2024.
  234. ↑ "British album certifications – Taylor Swift – The Tortured Poets Department". British Phonographic Industry . Retrieved August 9, 2024.
  235. ↑ "American album certifications – Taylor Swift – The Tortured Poets Department". Recording Industry Association of America . Retrieved December 2, 2024.
  236. ↑ Citations for The Tortured Poets Department digital editions:
  237. ↑ Citations for The Tortured Poets Department physical editions:
  238. ↑ The Tortured Poets Department physical Japanese versions:

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