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ts1989fanatic · 1 year

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Taylor Swift’s “The Eras Tour” Is a Triumph of Spectacle and Stamina: Review

Las Vegas hosted a greatest hits tour unlike anything ever staged before

As Taylor Swift ascended to the stage during the opening moments of “The Eras Tour” she emerged from billowing clouds of soft-hued tapestry in a glittering rhinestone bodysuit. She presented herself as the sergeant-at-arms ready to take her infantry of Swifties into the great pop battle through the 10 eras of her 17-year career with 44 tracks over more than three hours.

The second weekend of “The Eras Tour” at Las Vegas’ Allegiant Stadium on March 24th and 25th drew locals, Swifties who flooded the roads driving in from neighboring states, and international diehards from destinations far and wide. It had been a long time since Swift played Las Vegas and she broke the dry spell in a big way. As she took the stage for night three and four of “Eras”—a sold-out doubleheader in the desert — Swift rolled in a winner.

The orientation for this grand presentation was 2019’s Lover era, which included six songs: “Miss Americana & the Heartbreak Prince,” “Cruel Summer,” “The Man,” “You Need to Calm Down,” Lover,” and “The Archer.”

“We are about to go on a grand adventure,” Swift announced prior to performing “The Man.” “I’ll be your host this evening. My name is Taylor.” This was followed by a return to the familiar “Lover”-video dollhouse set, its rooms symbolizing each one of her albums. In “The Archer,” that house became engulfed in a rain of pyrotechnics—washing away in a blast of fire instead of water.

“Eras” was quite the adventure, as Swift promised. The show was loaded with heavy artillery from albums for which she has not yet toured, including 2019’s Lover, 2020’s Evermore and Folklore and 2022’s Midnights. Overall, the career highlight reel featured 12 live debuts. Those fresh moments were backed up by a smattering from Swift’s previous albums, tours and videos from eras including Taylor Swift (2006), Fearless (2008), Speak Now (2010), Red (2012), 1989 (2014), and Reputation (2017). The motifs, arrangements, costumes, dance moves and visuals drawn from those works were sometimes presented literally and at other times more nuanced and interpretive.

Despite the callback, for Swift, there is no time like the present and this era belongs to her. “The Eras Tour” aimed to engage all human senses, offering an extraordinary 4-D cognitive experience through its innovative stage design, cutting-edge visual mapping, and top-of-the-line production values that far surpassed most of today’s touring show standards.

The stage itself featured three separate platforms made of LED displays connected by a ramp — each equipped with mobile hydraulic blocks that form different shapes, creating those picture-perfect angles that Swift thrives on. It was a massive production with pyrotechnics, indoor fireworks, and image projection technology.

Whether alone or with her dozens of supporting talents, Swift dominated the football-field-long stage. In a true test of her stamina, she never broke during the three-plus hours for anything longer than a quick change.

The second era of the night was 2008’s Fearless, where she performed its title song as well as “You Belong With Me” and “Love Story,” a toe dip back into her transition from country to pop, represented by the soft golden glow of the iconic fringe dress and the lighting treatments. This was an homage to the pin-curled beauty queen with the guitar we first got to know way back when.

Era three, evermore, featured standouts “Willow” and “Champagne Problems.” The staging consisted of massive oak-like trees while Swift sat at a moss-covered piano. She went thoroughly witchy during the cloaked “Willow” as her cadre danced around with orange-hued orbs. “I’ve been fantasizing about what [this will be like] to sing it with you,” she said during an introspective interlude before heading into “Champagne Problems” where she noted the moment, “I’m so in love with this crowd, I’m petting the moss.”

Throughout, Swift deftly balanced her goddess and huntress personas, showcasing both sides of her artistry. During her performance of “Willow” from evermore, she channeled “little Taylor riding hood,” while in era four’s Reputation, she embodied a captivating “snake charmer.” Her setlist included memorable performances of “…Ready for It?,” “Delicate,” “Don’t Blame Me,” and “Look What You Made Me Do,” a reminder of the time when she had to defend and establish herself among her peers. The unforgettable snake-wrapped microphone from 2017 reappeared, slithering up her one-legged bodysuit.

The fifth era, Speak Now, received only one nod with “Enchanted” before moving on to Red and folklore.

The crowd fell into a frenzy with Red’s coming-of-age anthems “We Are Never Ever Getting Back Together,” “I Knew You Were Trouble” and the 10-minute version of “All Too Well,” a sharp contrast to the seventh more ethereal and cottage-dwelling era of folklore, which packed seven songs and was one of the most prominently featured chapters of the night. The performers’ period attire during “The Last Great American Dynasty,” the funeral procession of “My Tears Ricochet,” and the woodsy isolation of “Cardigan” transported the audience back to the strange and isolating reality of the pandemic, which may have been too soon for some.

The biggest, baddest, boldest era was number eight, 1989, as dancers rode neon-lit bicycles for “Blank Space”, and used blue-lit golf clubs to smash an animated car, then “Shake It Off,” erupted into a dance party followed by the intense and hot pyro display of “Bad Blood.”

While the ability to change up a tour like “Eras” city by city is virtually impossible because of its scale — Swift played to the Vegas crowd in a few ways they could really own. Built into each setlist is space for two surprise songs, which Swift has promised will be wholly unique for each show.

During her first night in Las Vegas, Taylor Swift approached the front of the stage with her guitar for an intimate moment and addressed the crowd, saying, “This is what I feel like playing, and I will decide based on what I hope you might want to hear. I aim to please, but I also get ideas from things.” Swift then referenced an interview she saw with beabadoobee, the Filipino-British singer-songwriter who opened the evening.

“For beabadoobee’s first show, I will play this specific song that she wants to hear. I wrote this for my 9th grade talent show,” Swift shared before launching into the rousing anthem “Our Song” from her debut album.

Swift then took a seat at a hand-painted floral upright piano for the night’s biggest surprise. “Lana Del Rey put out a new album today,” Swift remarked. “Did you know that there’s a tunnel under Ocean Blvd … it is so good — you probably already know that… It is just extraordinary. I think she is the best that we have and so make it a priority to stream, buy, support this album and this artist. She knows I am obsessed with her and she was kind enough to make a song with me on Midnights called ‘Snow on the Beach,’” Swift said.

“She is a generous king, she did that for me and I will never forget how nice she has been… I want to do some promo for her and in honor of this brilliant album she just put out, I’m going to play ‘Snow on the Beach.’”

The second night featured the first surprise guest of the tour as Marcus Mumford of Mumford & Sons popped up to do the live debut of “Cowboy Like Me” from 2020’s evermore. She also dusted off “White Horse” from Fearless.

For the closing spectacle, Swift plunged into a virtual body of water that surrounded the stage, then swam underwater back to the main platform — thanks to the next-level production — before returning to perform more songs from her Midnights era. The crowd’s excitement remained high as she introduced new tracks such as “Anti-Hero,” “Midnight Rain,” “Vigilante Shit,” and “Karma,” which received the same level of enthusiastic reception as her previously played greatest hits.

Regardless of whether you are a fan of Taylor Swift, it’s impossible to deny the sheer magnitude, artistry, and technical prowess of this production. This greatest hits tour, undertaken during her commercial prime, is an unprecedented feat and could potentially earn over a billion dollars, making it the highest-grossing tour in world history.

The three-plus”Eras” hours became a marathon and at the end, the audience was in a state of utter exhausted euphoria. But a spectacle of this size does beg the question — once you go this big, where do you go from here?

Taylor Swift’s massive 2023 tour continues through August.

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tsdrinks · 22 days

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Exploring Taylor Swift’s alcohol lyrics

Tyler Browne Connector Editor

Throughout her long and storied career, Taylor Swift has established several lyrical motifs in her songs. However, it can be argued that none is more prevalent than references to alcoholic beverages.

Swift’s lyrical fascination with alcohol began on 2017’s “Reputation”, which has led many fans to believe that the alcohol motif serves as a sort of metaphor for Joe Alwyn, who Swift dated between 2016 and 2023.

On “…Ready for It”, Swift references the island breeze cocktail multiple times, and on “End Game”, she describes Alwyn as having “eyes like liquor.”

The chorus of “Delicate” revolves around the premise of Alwyn making a drink for Swift during their first meeting, and “Gorgeous” includes a reference to whiskey on ice. “King of My Heart” references beer, while “So It Goes…” alludes to meeting with a lover in a bar.

Swift’s next album, 2019’s “Lover”, continues with the alcohol motif. The bridge of “Cruel Summer” includes the line, “I’m drunk in the back of the car,” while “Cornelia Street” references being “drunk on something stronger than the drinks in the bar.”

In the summer of 2020, Swift released “Folklore”. In the lead single, “Cardigan”, Swift references kissing in cars and downtown bars, while “The Last Great American Dynasty” includes a reference to a pool filled with champagne.

On “August”, Swift laments that “August slipped away, like a bottle of wine,” while “Invisible String” references a dive bar.

“Mirrorball” features a reference to drunkenness, while “The 1” references rosé.

2020’s “Evermore” has an entire song titled “Champagne Problems”. In the song, Swift tells a fictional story of a relationship that falls apart after a rejected proposal, using champagne as a metaphor for the narrator’s struggles with mental health issues. The song has become a fan-favorite, often leading to extended standing ovations after performances on Swift’s 2023 tour.

Another “Evermore” track, “No Body, No Crime”, tells a murder mystery story, featuring a reference to meeting a friend for “dinner and a glass of wine,” while “Willow” includes a reference to being “lost in your current like a priceless wine.”

On “Closure”, there is a reference to beer.

While “Tolerate It” doesn’t feature any mentions of alcoholic beverages, Eras Tour performances saw Swift perform the song with a bottle of wine used as a prop.

In 2022, Swift released “Midnights”. Unlike her previous two releases, “Midnights” returned Swift to writing songs about herself, rather than about fictional situations. During the recording process, the relationship between Swift and Alwyn began to fracture, leading to an incredibly personal album.

The chorus of “Maroon” revolves around the color of a stain of wine on Swift’s shirt, while the first verse mentions getting drunk on cheap rosé. “Question…?” includes a line about having “one drink after another.”

The standard album closer, “Mastermind”, sees Swift describing herself as “the wind in our free-flowing sails, the liquor in our cocktails,” in reference to the way that she plotted her relationship with Alwyn.

“Paris”, from the album’s deluxe edition, features references to meeting someone at a club and pretending that cheap wine is champagne.

“High Infidelity”, which is about the first time Swift and Alwyn met, refers to slurred speech, while “Dear Reader” sees Swift with “my fourth drink in my hand.”

“Hits Different” is about a low point in the breakup of Swift and Alwyn. On a night out with friends in Ireland, Swift gets drunk and imagines her lover with another girl before throwing up on the street, an event that was infamously confirmed by a graffiti artist in Dublin.

These lyrics cover a six-year span and five separate albums. During this time, Swift uses alcohol as a metaphor for her relationship with Alwyn, while also concocting fictional scenarios at times. With the relationship between Swift and Alwyn firmly in the past, it is anyone’s guess if the references to alcoholic beverages will continue on her next album.

#alcohol #anti taylor swift #taylor swift

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jonismitchell · 3 years

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Hi Arden, am I right in thinking that you made an edit of Taylor Swift albums if they were in the 60s-80s and it seemed like some of the track listing was different? I was wondering if you made a list of what you imagined the tracks to be for the albums in that edit universe?

Hey, you’re absolutely correct on that! Let me link you to the edit, which can be found here (and does not include evermore, because I made it too early. Also I should’ve made the logos smaller but hindsight is 20/20).

In a vague sense my tracklisting would include songs that tie more directly to a cohesive theme—Taylor’s albums tend to be all over the place and I am so obsessed with singular themes that all my work can be described as ‘enamoured by the city and romance in general.’

Here are some Taylor Swift songs that I feel would capture the ‘vibe’ of the albums in the universe of the edit I created. (No particular order and not complete, because some of the songs I’d want to include are invented.)

Taylor Swift: Betty, Should’ve Said No, Tell Me Why, Our Song, Invisible. The twangy country album of an outsider, the whispered confessions of a teenage girl. Her debut still introduces her as a tour de force of songwriting but the messaging is more consistent.

Fearless: Love Story, Change, Fifteen, Fearless, You Belong With Me. The same songs that made this album such a hit and a tribute to teenage girlhood, but in terms of production I imagine them sounding more explicitly country.

Speak Now: The Story of Us, Haunted, Starlight, I Wish You Would, The Outside. Similar to our Speak Now, it’s deeply introspective and heavy on real instruments. Strings are on almost every song and become more jarring as you go deeper into the album.

RED: State of Grace, Holy Ground, Champagne Problems, All Too Well, Treacherous, This Love, Babe, Better Man. We’re taking the idea of love being ‘burning red’ and running with it. A deep cut breakup album that’s as sonically incohesive as the feelings that inspired it. (But I’m cutting all the happy songs.)

1989: Welcome to New York, Wildest Dreams, Style, Wonderland, Cardigan, Getaway Car. An official pop album, but more of a detour from RED than in our universe. Leans heavily into synths and themes of ‘that one person who might just interrupt your wedding, because the story is never really over.’

reputation: Dancing With Our Hands Tied, Peace, Mirrorball, Gold Rush, The Archer. This list highlights Taylor’s introspective songs on fame, but I imagine a seventies reputation as being half ‘vindictive woman out for blood’ and half ‘the public eye is a nightmare but at least I’m in love.’ It’s a real bait and switch and she’s furious enough to prove it.

Lover: Paper Rings, King Of My Heart, New Year’s Day, You Are In Love, Daylight. It’s the happy, dreamy album with a focus on romance and the bliss of having it all worked out. Think of it as a thematic counterpart to RED, but with more of an edge. (The song choices don’t reflect this as well as I’d like them to but you’ve got to pick your battles. Think ‘Refuge of the Roads’ from Hejira if you’d like to get a sense of Bitter Taylor.)

folklore: The original tracklisting is kept except I cut invisible string and replace it with the lakes (which would have that infernal Twitter lyric and the cell phone lyric cut because it came out in the eighties. God bless.) More traditionally folk but keeping the lyrics that make the album so special. The other major change is that Betty is now a reprise from debut. (I imagine that the original Betty has the ambiguous ending that’s actually on folklore but the 80s folklore features something like ‘you told me to go fuck myself.’)

#thank you for this ask!#i could make playlists surrounding all my fake ts albums.....#anon #asking with you

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industrious-sloth · 3 years

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9. FOLKORE by Taylor Swift

Oh boy. Let me preface this by saying I am a late convert to Taylor Swift. I didn’t like he country albums, I really did not appreciate being bombarded by news of what she was up to despite not having asked; and didn’t think she could sing. Once I blacklisted the #taylor swift tag, though, I found that I could enjoy some of her pop stuff isolated from all the discourse around it. Blank Space still is my favourite song of hers, something a righteous and true swiftie might sneer at (there’s a great episode of the Switched on Pop podcast explaining why Blank Space works so well, back from when it first came out).

There’s this strange thing about Taylor Swift’s albums, though. I never like them the first time I listen to them. It’s not that I blatantly dislike them, but they take some getting used to. Take hoax, for instance, which at first ranked between blah and meh, yet now is one of my favourites. In no way is this odd effect exclusive to Folklore, either – last year’s Lover, which remains her best in my opinion, also needed to grow on the listener, as did Reputation. Evermore is yet to grow on me, but at this point I doubt it will – she would have done better by launching it as a B-side to Folklore as opposed to as its own album, because it really just sounds like the Folklore Rejects Compilation (apart from Long Story Short and Champagne Problems).

All of this got me thinking about the number of chances we give albums before we make up our minds about them. Would I have enjoyed Folklore as much as I did, in the end, had it not been in everyone’s mind? Had it not been trending for the entire week it came out, would I have given it another shot? Some albums do take longer to reveal themselves, so how do you know when they simply won’t? Am I going to stand corrected in two months saying that actually, Evermore is a fine album? And if I do, wouldn’t it be a little messed up that it is only due to how unescapable Taylor Swift is? Furthermore, how can I even tell whether Folklore is a good record or if I have simply been overexposed to it, having come to find comfort in songs to which I know the lyrics and notes? How can one even attempt to find common ground in criticism when one is forced into “Distant Listening”?

Perhaps we would do best to start at the more basic level, no discourse: just the good, the bad, and the weird. Actually, let’s start with the bad, as that is always more fun for evil-spirited people such as myself: I hate the grammar in this album – and by that, I don’t mean the pretentious interactions some critics refer to as grammar, but the actual grammar. I am an English teacher, and pop singers really complicate my life when they take a perfectly usable song to teach students English, and ruin it with bad grammar. It happened last year with The Man – why couldn’t she have said If I were a man? Why, god, why? I could have been able to teach them second conditionals and feminism– and again in songs here.

Take The 1, for instance, where she says “if you wanted me, you really should have showed”, instead of the correct participle form shown. It wouldn’t have made any difference whatsoever, rhyme or song wise, the one thing it would have done is save the life of ESL teachers everywhere. In this same song, she constantly uses “would’ve been” when she should be using “had”. Listen, I would not be pointing this out were it not extremely bothersome to me as a Brazilian English major. I start getting like Henry Higgins, about to burst into Why Can’t the English Teach Their Children How to Speak? If I ever made such mistakes, people would think I didn’t speak proper English.

Honestly, the 1 isn’t even the worst song grammar-wise – I can still listen to it and enjoy it, unlike mad woman, which is every ESL teacher’s nightmare. I can just imagine a snarky pre-teen going “But Taylor Swift says more crazy instead of crazier and more angry instead of angrier, and she’s American, so she’s right!” and closing the book on comparatives. Why must Taylor make my life so hard? Also, what’s up with the lower-case titles? That’s just pretentious. And yes, it’s annoying when Ariana does it as well.

Anyhow, this is a great album despite my pet-peeves. The storytelling is fun, the lyrics brilliant as usual, and Taylor’s realisation that she doesn’t always have to write about herself even better. I also love the unrequited rhymes in this, You heard the rumours from Inez/ You can’t believe a word she says is such a kooky combination, it’s practically insane. Those, nevertheless, make startling appearances all over the record, here’s another one, from last great american dynasty, which could have been written for Lana Del Rey: The wedding was charming, but a little gauche/ There’s only so far new money goes.

Taylor really rhymed Inez with says, and gauche with goes. And it worked. Also, when she sings “I’ve been meaning to tell you your house was haunted”… What do you mean, you’ve been meaning to tell them? Is it not pressing enough?

“Oh, by the way, I’ve been meaning to tell you, I saw a poltergeist at your house.”

“What, like, now?”

“No, I saw it a couple of months ago. Forgot to mention it.”

Incredible. I love lyrics that make you think – not in a philosophical or existential way, just, you know, about the situation their acceptance of their premise actually requires. Even the metaphors: my only one, my smoking gun. What does that mean? I don’t know, but I want to think about it until it makes sense!

Obviously, betty is everyone’s darling, but this is me trying is the real lyrical masterpiece of this album, at least for all clinical depressives out there, including yours truly. Is it extremely bold of Taylor Swift to write a Former Gifted Kid anthem, considering she has not ceased to put out hit after hit since she was in her teens? As an ex-gifted kid myself, I am okay with it as long as it’s good and accurate.

Folklore has so many secrets, so many auburn leaves paving its way, we could not possibly talk about every one of them. It has certainly felt like a quarantine album in that it’s been a fine quarantine companion, always whispering something new.

Best song: Spotify Wrapped doesn’t lie, and it’s my tears ricochet even though some of the lyrics in it are sort of over-the-top (I’m seriously talking about every time the word ricochet shows up, and nothing else).

Skip: mad woman. I cannot listen to it. Infuriating.

Best lyrics: You told me all of my cages were mental/ So I got wasted like all my potential (this is me trying)

I mean, how can you beat that? I’m seriously asking. For a friend

#top ten #nonfiction #criticism #folklore #taylor swift

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thisselflovecamebacktome · 3 years

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All my thoughts surrounding the Evermore album so far

For the first time in forever, I went into an album refusing to write down any notes or whatever about how I felt upon the first listen and really just let it sink in. Even when ranking the songs, I did it by gut feeling and refused to elaborate. But being over 24 hours and a dozen listens in and basically having the same opinions and thoughts, I felt it was time to put out everything I feel so far.

Basically this post is going to go over not only my thoughts on and relationship to the songs of Evermore, but how I feel about it as an album and specifically a sister album to Folklore. So I hope you enjoy it.

What I think of Evermore as a whole/it’s relationship with Folklore:

Truth be told Evermore is currently quite low on my Taylor album rankings. This isn’t to say I didn’t enjoy it and definitely is not me saying I didn’t like any of the songs. But the environment of an album and ability to get something out of listening to the songs all together and in order that you could not otherwise get is important to me to the point it’s my favourite thing about listening to albums. And right now? Outside of Tis The Damn Season and Dorothea, it’s just not there for me. In many ways, that has made Evermore very similar to Speak Now and Lover vibe wise to me in that it feels like an array of great songs as opposed to a perfect album experience like RED, Reputation and even Fearless feels to me. So while I could absolutely see myself listening to most of the songs on this album for years to come, I’ve already found myself listening to the album itself out of order and focusing on my favourite tracks more.

I would also argue that the only reason Evermore is a ‘sister album’ to Folklore is because it’s by Taylor Swift. And that may sound weird, but hear me out. The fact of the matter is that the only ways in which this album and Folklore are more ‘sisterly’ towards each other than other albums is because they are similar production wise and both are at least partially based on the stories of others. I could name you an array of artists whose albums share these same qualities yet are not seen as sibling albums. And honestly, right now it feels like the only reason these two albums are being seen as sisters is because they have come from someone who has been expected to change sounds, vibes and everything else every ‘era’ because she has admitted in the past that she has a fear of people getting sick of her. In my honest opinion, Reputation and Lover feel more like sister albums to me than Folklore and Evermore. This is not to say that Evermore is a lesser album for not being a sister project to Folklore, it’s just not something a connection I’m feeling right now.

What I’m about to say next may sound like it contradicts with what I just said but as it is a personal connection and not objective, I feel like it doesn’t. For me personally, Folklore was predominately an album that opened up and described my trauma relating to losing my whole family while Evermore feels more like a recovery album. So on a personal level, they are other sides of the same coin and while that makes them sister albums to an extent, to me it was not the extent Taylor meant because obviously these songs were not written with me and my personal issues in mind.

With that in mind, if we’re going to compare Folklore and Evermore like many people have, I feel as if Folklore is the stronger album but Evermore has stronger songs. Basically as a full experience I prefer Folklore, but the songs I like off of Evermore I love more than the ones I like off of Folklore. At this point, I will also say I think I love the production of Evermore more than Folklore, but I can also see that being a mood based thing.

What I think of each individual song:

Willow: I’m going to be honest, I do not see the hype for this song. Like objectively it’s not a bad song, but there’s just not really anything drawing me back to it. While clever, the 90s line also threw me off a bit and feels kinda out of place with the rest of the song giving ancient/mythical vibes to be honest. It seems to be a hot take at the moment, but I also found myself bored with the music video and didn’t seem to love the fact that it is a continuation of Cardigan as much as everyone else. I did however appreciate the love interest being from an Asian background during a time when they are on the receiving end of racial villification. I will say I think the first chorus is the strongest part of the song.

Champagne Problems: I feel like this is going to be the song that is most consistently among my favourites for this album. While most of my other favourites are the deep cuts or bops that I need to be in the right mood for, Champagne Problems feels like a good mix that I can listen to any time. It’s also kinda been a blessing for me because the man I love told me upon listening to it that my fear of marriage and actions around that lately have made him worry that we’re going to end up like that which has really made me reflect today on the fact that my fear of not being good enough to keep him isn’t going to be fixed by holding him at arm’s length, it can only be fixed by working to be the better person I think he deserves. In terms of Taylor, I’ve heard some of you think that Tom proposed while they were together and that the ring in the LWYMMD video is actually reference to him and I’mma be real, if that’s the case, damn right she should have said no because they were together what, 2 or so months??? In saying that, as a general sister piece to Getaway Car in that they’re both about realising you don’t love the person you’re with as much as they love you, it’s a nice comparison and I could see it.

Gold Rush: Taylor girl, please go to therapy about not feeling good enough for your man and insecurities that he’s gonna leave you for someone else. You are absolutely good enough. Honestly, all up I feel like this song is the definition of good. It’s not something I’d seek out to listen to but it’s not something I’d skip if it came on. The production is definitely the highlight of the song for me.

Tis The Damn Season: This song really hits hard for someone still living in her childhood house in her hometown huh? I’ve seen a lot of people relate this song back to The 1, and to be honest, they both remind me of the same platonic relationship I once had and things I wish we had said to each other, so I can see that. Look in all honesty, this is just one of those songs where I cannot pinpoint what makes it so good because it’s everything. The production, the lyrics, the emotion; it all works together to make it an amazing song. When considering the album as a whole, I think Tis The Damn Season and Dorothea are the strongest sign of creating an environment and emotion given that they are songs about the same relationship.

Tolerate It: I get why this is track five, and much like Mirrorball off of Folklore, had it come out in 2018 or beforehand, it would have owned my soul and been my favourite song off of this album forever. But nearly everyone who has ever made me feel this way was purged out of my life no later than 2018 so I feel so far removed from it. While I understand the artistic choice for the second half of the song to be wordy and faster paced to the point of feeling offbeat because that’s how it comes off when you’re thinking of all the ways you can defend yourself and/or leave, I personally prefer the first half of the song far more than the second half due to its flow. Had I enjoyed the second half as much as the first, I think this would have been a tied favourite from the album. I’ve seen Swifties say this is a Tayvin and/or John/Taylor song and yeah to be honest, I feel that. I also love the intepretations surrounding it being a queer person and a queerphobic family member.

No Body No Crime: Upon first listen, this was an automatic tied favourite of mine. But, while I’ll still say it is, listening to it on repeat today made me feel like it’s something I need to listen to sparingly or it’ll get overplayed fast, much like Betty did on Folklore for me personally. This is another song I really don’t have much to say about because I love it all and it’s a bop. As a more general note, I will say that I agree with people that I wish Taylor’s vocal collaborations with women included them actually having a verse rather than feeling like backup singers for Taylor. But for what we got, I think Haim added a lot to this song with their ‘He did it’ sounding like Este’s ghost reassuring Taylor he killed her and Danielle’s ‘she was with me dude’ adding a lot of atmosphere to the song. In my mind, Este’s husband wasn’t planning to leave/kill her or move his mistress in but accidentally killed Este as she tried to leave him. Either way though, it’s a great song and I can definitely see why it’s a fan favourite.

Happiness: This was my other tied favourite upon my first listen. When thinking of Taylor, I tend to agree with people that this song is probably about Scott and recoving from leaving Big Machine. When considering what it means to me... well it’s complicated. Truly, I want to reach a point where this is what I think of my family. I hope someday I can get there. But for now, it is another self love song; as if I am talking to my pre and/or newly traumatised teenaged self at age 25. This probably sounds weird but I also love that it’s my favourite while being the longest track (so far, obviously we don’t know about bonus tracks) of the album because there’s something so special to me about Taylor’s longer tracks.

Dorothea: A cute song. That’s really all I can say. Again, I love it’s connection with Tis The Damn Season and it makes me smile thinking about that platonic relationship these songs remind me of. Really just in general this song makes me happy and is probably the one I could see myself randomly singing around the house the most.

Coney Island: Honestly I like the idea/message behind this song more than I like the song itself. Like the idea of not appreciating something until its too late reasonates with me and again, is something I wish the ex friend Dorothea reminds me of would tell me they feel, but obviously I cannot change that. I’ve seen posts about how the bridge of this song was inspired by John, Jake, Harry and Calvin, but to be honest, in general this song feels very purely Tayvin to me, but like from Calvin’s (or at least what Taylor hopes is his) point of view. All up, I think the production of this song is its strong point and the reason that while it’s still not one of my favourites, it’s somewhat grown on me.

Ivy: Another hot take? This is another song that I just haven’t been able to get into. Like I like the idea that it’s the ‘tough’ parts of Invisible String where you have to take the leaps not knowing where you’ll end up, but yeah, I don’t know, it just wasn’t something that has caught my attention yet.

Cowboy Like Me: This song is a vibe. Like it’s the type of song I could see myself putting on while just wanting to chill or do something else at the same time, but I don’t feel like it’s something I’m going to opt to listen to on its own that much. Basically it’s as middle of the road track for me as they come. I will say however that ‘Now you hang off my lips like the gardens of Babylon’ has lived in my mind rent free all day.

Long Story Short: This song is so fun. I love that barring Folklore, I could see it being on any of Taylor’s albums since Fearless. It also reminds me of another non-Taylor song, but I can’t think of what and that has been bugging me all day. I saw a lot of people saying that they’re over Taylor talking about 2016, and personally while it’s not my favourite topic either, she’s free to write about whatever she wants and honestly? I feel like her more upbeat, funner sounding songs like this one have boded better with me when she first releases them ever since Lover so I’m glad she released it. Anyway, like I said, it’s another cute fun song that I can see myself dancing to in my room for a while yet and that makes me so happy.

Majorie: I’m gonna be honest, I feel like this is a song you have to relate to to love, and I do not relate to it. Like I think had my family shit not gone down, I would have cried to this thinking of my recently deceased grandfather because I felt the closest to him out of any family member as a kid, but yeah, that’s not how things are now and so I don’t have the emotional attachment to this song. I can however see myself getting it when my mother dies to be honest. But for now, it’s a sweet song and I get why people love it.

Closure: Remember how I said Happiness is how I wish I felt about my family? Closure is how I actually feel about them. To be honest, the fact that everyone seems to have this as their least favourite song from the album shocks me because I think it’s one of the most relatable. I’m also surprised so many of you feel like this is about Karlie given the sounds at the beginning and end sound like (Big) Machines and the second verse and bridge scream Scott to me. All up, I genuinely really like this song and feel like it’s the one with the most experimentation that works for the track despite the lyrical simplicity to be honest.

Evermore: Lyrically, this is my favourite track from the album. Production wise? ... well Taylor’s part is amazing. This is another song where artistically I appreciate how jaggered Justin’s voice makes the song because it works contextually at that part, but it’s a bit much for me in terms of wanting to have the song on repeat. Though it wouldn’t have had the same jaggered hence artistic feel, I do wish Justin had used his lower register because I feel like it would have suited the replayability of the song more. Regardless, it is another self recovery/reflection song for me and definitely one of my favourite (and perhaps the most socially relevant given how 2020 was for most people) closers from Taylor... though she always knocks those out of the park.

Final Thoughts:

Though not being my favourite overall album from Taylor, Evermore is a solid album with amazing songs. It is also an album I can see being a grower and/or mood based album. So with two songs still coming, I’m not about to rule it out as being something I won’t love more in the future. This is especially the when I know that even if I don’t get the environment I usually love from it, Evermore has so many amazing songs I can see myself listening to for years to come.

#taylor swift #evermore album

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lochsides · 3 years

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evermore: Track-by-Track review

I didn't think I'd be writing another review for a Taylor Swift album so soon after folklore but here we are. Truthfully though, evermore feels more like a figment of my imagination than a real album, and as a result this album has been a grower for me. When Taylor said evemore would be the sister record to folklore, I was curious as to the distinguishable differences between the two, because Taylor wouldn't simply give us the same album twice. evermore is, strangely, both the wild younger sister that's more experimental and the wise older sister with a mature outlook on life. Where folklore was a product of isolation, evermore is a product of creativity and that can be felt in the music.

I’ve written my thoughts and theories on each song, and bolded my favourites, below the cut, if you’re interested. I also included my current ranking at the bottom.

Taylor has been very good at picking leading singles for the folklore/evermore era. willow is brilliantly catchy while maintaining the alternative folk sound that she established in folklore. Her vocals suit the song so well, especially on ‘follow’/“hollow” in the chorus. They pair so beautifully with the mesmerising production. The reason this song is one my favourites is purely because of the rhythm and the guitar. The lyrics are, for once, a bonus. As an entry point to evermore, willow does not ease the listener in, the song instead throws the listener in the deep end — which I feel was intentional, as Taylor said evermore was the product of wandering further into the folklorian woods.

champagne problems is easily my favourite song on this album. Storytelling is Taylor's biggest strength as a songwriter and I think this song is a achingly beautiful example of what an emotive storyteller Taylor is. It would be so difficult for me to pick a favourite lyric from this song but I love how she sets in train in the opening line, "you booked the night train for a reason, so you could sit there in this hurt / bustling crowds or silent sleepers, you're not sure which is worse." The accompaniment is gorgeous and the composition of the bridge is breathtaking. Every time the bridge plays I get chills.

gold rush was a grower for me. I'm still not a fan of the intro/outro but I enjoy the production in the rest of the song once the beat kicks in. I think it's one of the more experimental sounds on evermore but it's very catchy. I won't even talk about how the chorus called me out with "I don't like slow-motion, double vision in a rose blush, I don't like that falling feels like flying 'til the bone crush."

'tis the damn season is the non-holiday-holiday song that still has a classic sound and production. I know this song is Dorothea's perspective but I get a lot of illicit affairs parallels with this one as well: "don't call me baby" / "you could call me babe for the weekend", "what started in beautiful rooms ends with meetings in parking lots" / "the road not taken looks real good now, time flies, messy as the mud on your truck tires".

tolerate it is a hard song for me to review because I literally zone out every time I listen to it. I think it's my brain's way of protecting me from toxic relationship trauma 🙃 but it's another gut-punch track five, what else is new? I mean she literally said "now I'm begging for footnotes in the story of your life, drawing hearts in the byline, always taking up too much space or time," and broke my nervous system.

no body, no crime is the best country song Taylor has ever written, period. The sirens at the start, the storytelling, the way it sounds like an old-school murder-mystery movie. HAIM on the backing vocals were great, though I do wish they had at least a verse of their own. That's literally my only critique of this song. It's that good.

There's so much maturity in Taylor's outlook on happiness. I connect this song to her tarnished relationship Sc*tt/BMG and how she's happy after leaving but she was also happy during the time she was with them. I really enjoyed the simple addition of the piano and the way it built up to add depth to the production. Taylor's delivery of the line "no one teaches what to do when a good man hurts you and you know you hurt him too" really hits me.

dorothea is a really nostalgic, retro school-dance-vibe, kinda playful song with a personality, which I adore. The production is absolutely timeless. I woke up today with the chorus stuck in my head. I think "if you're ever tired of being known for who you know, you know, you'll always know me" is fun word play and I'm a nerd of that type of thing. (Side note: to me, this song feels very reminiscent of her friendship with Karlie Kloss, right down to the "selling makeup in magazines.")

coney island gives me desolate, abandoned theme park vibes. The simplicity of the production only enhances it. It's everything I could've hoped for in a song titled "coney island" and featuring The National. Matt Berninger's vocals are absolutely astounding. What does it say about me that my favourite aspect of this song is the feeling of despair laced into its bloodstream.

ivy is another favourite but what did I expect from a song filled to the brim with longing and mentioning the crescent moon? The instrumentation and her vocal styling is similar to willow. There are also lyrical parallels of "... your freezing hand, taking mine" / "I'm begging for you to take my hand" and "how's one to know I'd meet you where the spirit meets the bone" / "I never would've known from the look on your face" and she echoes both those sentiments in a different way after the respective bridges and I wonder if that's intentional. Knowing Taylor Swift, probably.

cowboy like me belongs in the center of a country/folk/slow blues Venn diagram. It's the perfect blend of the three genres. Marcus Mumford's back vocals sound so good with Taylor's. "We could be the way forward, and I know I'll pay for it" and "the skeletons in both our closets plotted hard to fuck this up" are great lyrics.

I'm not all about the way long story short stars but the song quickly settles into its skin. This is easily the most pop-sounding song on evermore but it's still somewhat experimental in comparison to Taylor's existing discography and I think it's cool that she can find space to experiment within a musical space that she has all but mastered. Say what you will but Taylor Swift knows how to make hits no matter the genre. The lyrics "he's passing by, rare as the glimmer of a comet in the sky and he feels like home" reminds me so much of Call It What You Want.

marjorie gave me chills on the very first listen when Taylor sings about how her grandmother left her backlogged dreams to her. I love that they used her grandmother's actual vocals in the background, that's a really heartwarming detail. This song comes with some really solid advice too. It just feels very personal. I love the way production builds on "what does didn't stay dead" right to the bridge, which is my favourite part of the song.

closure is easily the most experimental song on the album with that the scratch tape sound and those drums. I love the sheer pettiness in her tone and the lyric "don't treat me like some situation that needs to be handled" is brilliant. That said, this is probably my least favourite. I think it's a cool song but just not for me.

evermore has some of the most beautiful lyrics on the album. "I replay my footsteps on each stepping stone, trying to find the one where I went wrong" and "barefoot in the wildest winter" are some of my favourites. I'm not a big fan of the sudden shift in tempo on either end of the bridge but Justin Vernon's falsetto makes up for it. The production is otherwise beautiful.

Note that the bonus tracks are currently at the bottom because they have not been released yet.

#taylor swift #evermore #reviews #music #ts

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