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 Tortured Poets Department consists of 16 standard songs and features two guest acts—the American rapper Post Malone on the lead single "Fortnight" and the English indie rock band Florence and the Machine, led by the singer-songwriter Florence Welch, on the song "Florida!!!". [16] The album was primarily written and produced by Swift with longtime collaborators Jack Antonoff and Aaron Dessner; Welch and Malone also co-wrote their respective collaborations with Swift. [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 varied 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]

Critics characterized The Tortured Poets Department as a post-breakup album. [19] [37] [38] Ann Powers wrote in NPR that throughout the record, "Swift is trying to work out how emotional violence occurs." [39] In The Conversation , the music professor Samuel Murray opined that the album uses melodrama as a narrative device to "celebrate emotional vulnerability as she shares her innermost thoughts". [40] Business Insider 's Callie Ahlgrim described the album's content as Swift's "messiest, horniest, and funniest". [41] In The Independent , Helen Brown suggested that Swift's songwriting draws on her country music roots to explore detail-heavy narratives. [42] While some critics argued that the album is autobiographical in nature, [42] [43] Pitchfork's Shaad D'Souza argued that it straddles the confessional and the fictional storytelling. [44]

Production and music

Gnome-mime-sound-openclipart.svg
"Fortnight"
The predominantly synth-pop sound of the album's first volume is exemplified by the opening track, "Fortnight", which features a pulsing synth bassline.
Problems playing this file? See media help.

Mainly produced by Swift and Antonoff, the album's standard portion is primarily synth-pop, [lower-alpha 2] with a mid-tempo production incorporating subdued synths and sparse drum machines. [lower-alpha 3] Critics found the production minimalist [lower-alpha 4] and compared this synth-based sonic approach to the sound of Swift's previous album Midnights. [lower-alpha 5] PopMatters 's Igor Bannikov described it as "simplistic, indie-ish, and almost muted", [54] The Guardian 's Alexis Petridis wrote that it additionally features "the glossy 80s-influenced pop-rock" of Swift's 2014 album 1989 , [52] and The Times ' Will Hodgkinson described the album as an amalgam of synth-pop and 1980s power ballads. [55] Swift mostly sings in her lower vocal register to deliver rap-like, conversational verses. [26] [35] [39] Murray analyzed that the album uses some of Swift's familiar devices such as one-note melodies and recitative delivery that adopts the rhythm of ordinary speech. [40]

Several tracks feature a more stripped-down instrumentation, driven by piano [39] [29] or guitar, [56] with stylings of varied genres; "But Daddy I Love Him" and "Guilty as Sin?" incorporate live drums and influences of country and rock, [57] "Down Bad" evokes R&B in its dynamic shifts and cadences, [22] [57] "Fresh Out the Slammer" features Western-rock electric guitars, [41] and "I Can Fix Him (No Really I Can)", "Florida!!!", and "Who's Afraid of Little Old Me?" experiments with Southern gothic. [53] Tyler Foggart of The New Yorker dubbed The Tortured Poets Department a mix of dream pop and Southern gothic infused with some "country-ish vibes", [58] while Josh Kurp of Uproxx thought that the album was genre-less. [18]

The second part of the double album, subtitled The Anthology, mostly consists of chamber pop [59] and folk-pop [54] piano ballads. [60] Swift and Dessner produced the majority of the second volume, which has an acoustic, folk-oriented sound [61] instrumented by picked acoustic guitar, soft piano, and subtle synths, [43] which critics likened to the sound of Swift's 2020 albums Folklore and Evermore . [lower-alpha 6] Neil McCormick of The Daily Telegraph argued that this mellower sound allows for more subtlety in the lyrics, which explore Swift's character studies ("Cassandra", "Peter", "Robin") and self-reflection ("The Albatross", "The Bolter", "I Look in People's Windows", "I Hate It Here"). [43]

Title and artwork

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.

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. [63]

The cover artwork, photographed by American photographer 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, [64] [65] [66] from the fashion labels the Row and Yves Saint Laurent. [65] [67] Both the artwork and title were parodied by numerous brands, organizations, sports teams, and franchises, and inspired numerous memes. [68] [69] [70] Media outlets described the album's visual aesthetic as dark academia. [71] [72] [73]

Promotion and release

Physical copies of the album feature a poem by Stevie Nicks (pictured). Stevie Nicks 2.jpg
Physical copies of the album feature a poem by Stevie Nicks (pictured).

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. [74] She partnered with Target for an exclusive "Phantom Clear" collector's vinyl edition. [75]

Swift promoted the album via partnering with digital platforms like Apple Music, Spotify, YouTube, Instagram, and Threads. The campaign, which prompted Swifties to search for Easter eggs, [76] included five Swift-curated Apple Music playlists containing her old songs inspired by the five stages of grief; [77] a pop-up library of curated articles at The Grove, Los Angeles, hosted by Spotify; [78] QR code murals in various cities worldwide that lead to unlisted YouTube shorts on Swift's channel; [79] [80] 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. [81] iHeartRadio and Sirius XM announced special programs with exclusive content from Swift to celebrate the album's release; the latter temporarily rebranded as "iHeartTaylor". [82] [83]

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. [84] Two days earlier, the standard edition of the album was leaked, [85] which resulted in the phrase "Taylor Swift leak" being temporarily banned from searches on the social media platform X (formerly Twitter). [86] In total, The Tortured Poets Department was available in 21 versions for purchase: the 16-track standard digital download album, the 31-track Anthology digital download album, nine CD variants, six vinyl variants, and four cassette variants, with deluxe CDs and cassettes being available exclusively via Swift's official website. [87] Physical copies of the album include an original poem by the singer-songwriter Stevie Nicks. [88] "Fortnight" was released as the lead single in conjunction with the album, accompanied by a music video. [89] From May 2024, starting with the Nanterre shows in France, Swift revamped the set list of the Eras Tour to include songs from The Tortured Poets Department in a new act, [90] which she informally described as "Female Rage the Musical". [91]

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
Genre
Length65:08
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
Double album cover
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic? 7.5/10 [92]
Metacritic 76/100 [lower-alpha 7]
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [95]
Clash 8/10 [96]
The Daily Telegraph Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [lower-alpha 8]
The Guardian Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [52]
The Independent Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [42]
NME Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [45]
Pitchfork 6.6/10 [lower-alpha 9]
Rolling Stone Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [lower-alpha 10]
Slant Magazine Star full.svgStar full.svgStar full.svgStar half.svgStar empty.svg [49]
The Times Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [97]

Publications described the critical consensus upon release as positive [98] [99] or mixed. [100] 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. [93] Its second part, The Anthology, scored 69 from 6 critic scores. [94]

A number of critics regarded the album a landmark in Swift's discography. Reviews from The Independent 's Helen Brown, [42] The Arts Desk 's Ellie Roberts, [23] The Times' Dan Cairns, [97] PopMatters 's Jeffrey Davies, [51] 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; [101] Others, including Variety's Chris Willman, [29] the i 's Ed Power, [71] and The Observer 's Kitty Empire, called it a quintessential Swift album. [102]

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. [52] [103] 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." [47] 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". [104] [49] [61]

The tumultuous mood and unconstrained emotion of the lyrics were also highlighted. Multiple reviews complimented the album's heavy, unfiltered emotion; [71] [19] [29] [105] Clash 's Lauren Webb described it as "a spell-binding, toxic, chaotic illustration" of deteriorating mental sanity. [96] 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". [39] 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. [48]

Many critics, including Zoladz, [104] NME 's Laura Molloy, [45] 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] [106] The New Yorker's Amanda Petrusich rather favored Dessner's input to the album as "gentler, more tender, and more surprising". [107] Horn and the BBC's Mark Savage felt the melodies were sonically monotonous and "staid", [36] [47] but others argued that the minimalistic approach complemented Swift's hyper-personal lyrics; [49] [102] [52] Hopper opined that "Swift's confidence as an artist is at a peak" with The Tortured Poets Department. [103] 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; [108] this idea was also 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] [98] [109] The Ringer's Nathan Hubbard deemed it Swift's most controversial release since Reputation (2017). [110] Journalists from The New York Times [111] and Vox attributed this phenomenon to Swift's heightened fame and associated media "overexposure" in 2020–2024, including eight album releases, the influential Eras Tour, and the relationship with Travis Kelce. [12] Paste's anonymous review was singled out by other publications as "scathing"; [98] [112] 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". [113] The album's Pitchfork score is Swift's lowest from the website, while 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 the latter confusing. [114] 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. [115] [116]

A number of commentators opined that the initial reviews demonstrated a flawed approach of mainstream music criticism. [12] [117] [118] 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 unprofessional "digs" at Swift in Paste and the "instant classic" review by Rolling Stone. [117] In The Ringer, Nora Princiotti attributed the polarizing 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. [110] Karl opined that some "reputable publications" catered gossip instead of a serious artistic analysis, [117] while Anh highlighted that reviews mentioned aspects of Swift's public image instead of focusing on the music. [114] 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 either that critics did not take that into account or that they did not allot enough listening time. [119]

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. [120] 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". [118]

Commercial performance

The Tortured Poets Department broke numerous streaming records. On Spotify, it became the album with the most number of pre-saves; the most streamed album in a single day by surpassing 200 million and then 300 million streams, breaking the all-time record previously held by Swift's Midnights; and the fastest album to accumulate one billion streams in a single week, doing so in five days. [121] [122] The album also became the most streamed album in a single day on Amazon Music [123] and the most streamed pop album in a single day on Apple Music. [121] It amassed 1.76 billion streams globally within its first week of availability, registering an all-time record. [124] Republic Records reported global first-week consumption of four million units. [99]

In the United States, according to Billboard , the album accumulated 1.6 million album-equivalent units in four days, [125] 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). [121] It broke the single-week streaming record previously held by Drake's Scorpion (2018), amassing 799 million on-demand streams in six days. [121] 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. [87] In its second week atop the Billboard 200, The Tortured Poets Department registered 439,000 units, the biggest second-week tally since Adele's 25 (2015). [126] 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. [127]

The Tortured Poets Department broke chart records elsewhere. 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. [128] 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, selling 270,000 units in its first week. As Swift's 12th number-one album on the UK Albums Chart, it tied her with Madonna for the most chart-toppers among female artists. [129] It became the United Kingdom's fastest-selling vinyl album since 1994, surpassing the previous record held by Midnights. [130] 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. [131] 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. [132]

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) [169] Platinum70,000‡
Denmark (IFPI Danmark) [170] Gold10,000‡
France (SNEP) [171] Gold50,000‡
Germany (BVMI) [172] Gold75,000‡
Italy (FIMI) [173] Gold25,000‡
New Zealand (RMNZ) [174] Platinum15,000‡
Poland (ZPAV) [175] Gold10,000‡
Spain (PROMUSICAE) [176] Platinum40,000‡
United Kingdom (BPI) [177] Platinum300,000‡

‡ Sales+streaming figures based on certification alone.

Release history

The Tortured Poets Department release history
RegionDateFormat(s)Edition(s)LabelRef.
VariousApril 19, 2024
  • Standard
 Republic [178]
  • The Black Dog
  • The Albatross
  • The Bolter
  • The Manuscript
  • Digital download
  • streaming
The Anthology [84]
United States
  • CD
  • vinyl LP
 [179] [180]
JapanApril 20, 2024CDThe Manuscript Universal Japan [181] [182]
United StatesMay 17, 2024Digital download"Who's Afraid of Little Old Me? (First Draft Phone Memo)" bonus trackRepublic [134]
"Cassandra (First Draft Phone Memo)" bonus track [135]
"The Black Dog (First Draft Phone Memo)" bonus track [136]
JapanCD
  • The Black Dog
  • The Albatross
  • The Bolter
Universal Japan [182]
United StatesMay 31, 2024"But Daddy I Love Him" acoustic bonus trackRepublic [133]

Notes

  1. ↑ Also shortened to Tortured Poets or abbreviated as TTPD colloquially.
  2. ↑ As discussed by Variety 's Chris Willman, [29] NME 's Laura Molloy, [45] and The Daily Telegraph 's Neil McCormick [43]
  3. ↑ As discussed by NPR's Ann Powers, [39] the New Statesman 's Anna Leszkiewicz, [35] the Irish Independent 's John Meagher, [46] Pitchfork 's Olivia Horn, [47] and Consequence 's Mary Siroky [48]
  4. ↑ As discussed by Slant Magazine 's Jonathan Keefe, [49] Sputnikmusic 's Hugh G. Puddles, [50] and PopMatters 's Jeffrey Davies [51]
  5. ↑ As discussed by The Guardian 's Alexis Petridis and Laura Snapes, [52] [53] the BBC's Mark Savage, [36] and Rolling Stone 's Rob Sheffield [27]
  6. ↑ As discussed by the BBC's Mark Savage, [36] The A.V. Club 's Mary Kate Carr, [62] The New Yorker 's Tyler Foggart, [58] and Exclaim! 's Alex Hudson. [61]
  7. ↑ According to Metacritic, the standard edition received a score of 76/100, while The Anthology volume received a score of 69/100. [93] [94]
  8. ↑ Neil McCormick from The Daily Telegraph rated the standard edition and The Anthology volume each with a 4/5 rating. [43]
  9. ↑ Pitchfork critics rated the standard edition 6.6/10 and The Anthology volume 6.0/10. [47]
  10. ↑ Rob Sheffield from Rolling Stone rated the standard edition 5/5 [27] and The Anthology volume 4/5. [60]

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<i>Midnights</i> 2022 studio album by Taylor Swift

Midnights is the tenth studio album by the American singer-songwriter Taylor Swift, released on October 21, 2022, by Republic Records. Swift conceived it as a concept album about nocturnal ruminations inspired by her sleepless nights. The autobiographical songwriting explores broad emotions such as regrets, self-criticism, fantasies, heartbreak, and infatuation, using confessional yet cryptic lyrics that allude to her personal life and public image.

"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 also contributed much of the song's instrumentation along with several other members of the American rock band Bleachers. A synth-pop song with R&B inflictions, "Down Bad" is about a momentary infatuation. It is the fourth song on the album.

"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 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. Musically, "But Daddy I Love Him" is an electronica and folk rock ballad with elements of country and rock. Its lyrics target detractors of Swift's love life.

"Florida!!!" is a song by American singer-songwriter Taylor Swift featuring the English band Florence and the Machine, taken from Swift's eleventh studio album, The Tortured Poets Department (2024). Swift wrote the track with the band's frontwoman Florence Welch, who also sang lead vocals, and produced it with Jack Antonoff. An Americana and Southern Gothic-influenced power ballad with indie rock guitars and drums, its lyrical content revolves around seeking relief through escapism and alcohol. Critics generally praised the duo's vocal performance and song's production, however, others deemed the lyrics lackluster. The song peaked within the top 10 of the Billboard Global 200, Australia, Canada, New Zealand, and the United States.

"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.

"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). Swift wrote and produced the song with Jack Antonoff. An upbeat electropop and dance-pop track, "I Can Do It with a Broken Heart" incorporates house elements, percolating synth arpeggios, and a dance-friendly bubblegum beat. The song's lyrics reflect her tumultuous state of mind while on the early run of her Eras Tour in 2023, claiming that she was going through a heartbreak while having to show up professionally to perform.

"The Smallest Man Who Ever Lived" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). The song was written and produced by Swift and longtime collaborator Aaron Dessner. It peaked at number 18 on the Billboard Global 200 and charted within the top 20 in Australia, Canada, Ireland, New Zealand, and the United States.

"Clara Bow" is a song by the American singer-songwriter Taylor Swift from her eleventh studio album, The Tortured Poets Department (2024). The track was named after the silent-film actress Clara Bow. Swift and Aaron Dessner wrote and produced the track, which was inspired by Swift's conversations with record label executives. A folk-leaning pop rock track, it comments on Swift's fame. Critics, as well as Bow's family, applauded the track for Swift's vulnerability, lyricism, and depiction of fame and beauty. The song peaked at number 22 of the Billboard Global 200 and reached the top 25 in Australia, Canada, New Zealand, Singapore, and the United States.

"The Alchemy" is a song from Taylor Swift's eleventh studio album, The Tortured Poets Department (2024). Swift wrote and produced the track with Jack Antonoff. A pop rock track, "The Alchemy" uses extensive football imagery to describe a burgeoning romance after going through heartbreak. Some critics deemed the football imagery and metaphors weak, but some others praised the production elements. The track peaked at number 18 on the Billboard Global 200 and reached the top 25 in Australia, Canada, New Zealand, and the United States.

<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 the American rapper and singer Post Malone, taken from Swift's eleventh studio album, The Tortured Poets Department. The two artists wrote the track with Jack Antonoff, who produced it with Swift. Republic Records released the song as the lead single concurrently with its parent album on April 19, 2024. A 1980s-inspired downtempo electropop and synth-pop ballad, "Fortnight" is instrumented by a pulsing synth bassline. Its lyrics see Swift's character in an unhappy marriage and becoming next-door neighbors 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, its lyrics talk about dealing with a high-school bully. Due to the lyrical content and the stylization of the title, some media publications interpreted "Thank You Aimee" as a diss track towards Kim Kardashian. It peaked at number 29 on the Billboard Global 200 and reached the national charts of Australia, Canada, New Zealand, Portugal, and the United States.

"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.

References

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  182. 1 2 The Tortured Poets Department Japanese versions:
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