Taylor Swift opens up in “Lover” album
Taylor Swift's seventh album, "Lover," lives up to its title. Following the bitter and confrontational tone of her 2017 release, "Reputation," she returns to the wide-eyed yet sharp romantic pop that propelled her to superstardom. Spanning 18 tracks, "Lover" may be more sprawling and imperfect compared to her flawless 2014 crossover hit, "1989." However, it succeeds thanks to Swift's frequently dazzling melodies and ultimately touching love-infused lyrics.
Interestingly, the lackluster lead single, "Me!," has been pushed towards the end of the album as track 16. With playful lines like "I know that I'm a handful, baby," it attempts to reintroduce Swift's fun side but tries too hard, resulting in a jingle reminiscent of a cheesy TV ad promising £50 to switch bank accounts. Fortunately, it's one of only two major missteps. The other misfire is the lackluster opening track, "I Forgot You Existed," which treads familiar ground from "Reputation." Swift sings about someone who has wronged her in the past, expressing indifference towards them while inadvertently undermining her message by, well, writing a song about them.
A significant portion of "Lover" is undeniably infectious. Swift knowingly sings, "'I love you'—ain't that the worst thing you ever heard?" on the brilliant pop track "Cruel Summer," a collaboration with Annie "St. Vincent" Clark. Equally fantastic, "I Think He Knows" tiptoes towards funk, pushing the boundaries of Swift's musical style, and reaches its peak with an economical yet evocative lyric that echoes her pre-'Reputation' era. "His hands around a cold glass, make me wanna know that body like it's mine," she sighs, encapsulating the exhilaration of unbridled desire in a concise 15 words.
In the eleventh track of the album, titled "London Boy," Swift eloquently captures her experiences with her lover Joe Alwyn in various areas of his hometown. With mentions of places like Shoreditch and Brixton, both located in England, Swift paints a vivid picture of their shared moments. The introduction was also unique as Idris Elba added some words.
The album "Lover" showcases additional remarkable moments that embrace a more stripped-back approach. The title track is a captivating and intimate jewel, with a touch of duskiness that hints at Swift's potential venture into the realm of alt-country if she were to pursue it. In the poignant collaboration "Soon You'll Get Better," Swift joins forces with the Dixie Chicks, providing a heartfelt glimpse into her mother's journey through cancer treatment. With her characteristic matter-of-fact delivery, Swift sings, "You like the nicer nurses, you make the best of a bad deal, I just pretend it isn't real," a sentiment that resonates deeply with anyone who has experienced being by a loved one's side in the hospital. Another standout track is the shimmering synth-pop gem, "The Archer," boasting yet another excellent melody while benefiting from Swift's effortless touch and delicate craftsmanship.
"The Man," one of the album's most prominent statement songs, achieves a qualified success. Swift delivers a sharp and straightforward response to the sexist double standards that have marred her public image. The inclusion of a reference to Leonardo DiCaprio in Saint Tropez adds an exciting element that resonates effectively. However, due to its strong focus on Taylor Swift's personal experiences, the song may not completely transcend into becoming a universally resonating feminist anthem.
In "You Need To Calm Down," Swift aims to show her support for the LGBTQ+ community. The music video features a notable ensemble of queer celebrities, including Ellen DeGeneres, Laverne Cox from Orange Is The New Black, Billy Porter from Pose, Olympic figure skater Adam Rippon, and pop singer Hayley Kiyoko. While her intention is commendable, some critics feel that Swift's delivery of lines like "shade never made anyone less gay" gives off an impression of someone who may have only caught a few episodes of RuPaul's Drag Race at a friend's house, rather than being deeply connected to the culture it represents. This sentiment echoes the impact of the influential documentary Paris Is Burning.
Nonetheless, it is not uncommon for singer-songwriters to thrive when expressing their own personal experiences through music. Despite a few minor missteps, "Lover" serves as a warm reminder of Swift's exceptional songwriting skills and her ability to create sonically captivating pop music. Collaborating with talented producers like Jack Antonoff and Joel Little, she delivers yet another polished and accessible album that showcases unexpected production nuances. Tracks like "False God" blend saxophone and trap elements to create a soothing and sultry mix, "Death Of a Thousand Cuts" resonates with echoes reminiscent of Fleetwood Mac's "Tango In The Night" era, and "Paper Rings" exudes an infectious '80s-style pop anthem vibe, complete with energetic Ramones-style "eh! oh!" chants. Yes, it's true.
Labeling "Lover" as a comeback may be a stretch, considering that even her lowest-selling album to date, "Reputation," achieved triple Platinum status in the US. Instead, let's just say that the old Taylor can't come to the phone right now because she's busy crafting songs that truly suit her once again.