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/artists/detailsArtist Details
The whole artist page: bio, origin, top songs, latest release, albums, singles, videos and similar artists.
QUERY PARAMS
Apple Music artist ID or any music.apple.com artist link.
Examples:
- ID:
159260351 - URL:
https://music.apple.com/us/artist/taylor-swift/159260351
2-letter country code of the Apple Music storefront to read. Defaults to the pasted link's country, else US.
Allowed values: any code from /countries (US, GB, IN, DE, FR, JP, ...)
Language of names, genres and editorial text. Defaults to the country's own language.
Allowed values: a language tag supported by the country (en-US, en-GB, fr-FR, es-MX, ja, ...)
{
"id": "159260351",
"name": "Taylor Swift",
"link": "https://music.apple.com/us/artist/taylor-swift/159260351",
"genres": [
"Pop"
],
"origin": "West Reading, PA, United States",
"born_or_formed": "1989-12-13",
"is_group": false,
"bio": "The country world feigned surprise when, after three albums of Music Row-indebted songcraft, Taylor Swift formally embraced pop on 2012’s Red. But no one should have been shocked: Any 14-year-old capable of persuading her parents to move from suburban Pennsylvania to Nashville for her career clearly has ambition to burn.\n\nHer early, youthful love songs heralded 2010’s newly self-possessed Speak Now—which showed off her scathing wit—and evolved into knowing, ironclad pop fare that held its own against boisterous Max Martin production on 1989, her fifth album, titled after her birth year. Throughout, her songwriting has blurred the lines between the public and private, burying enough real-life clues to make clear that only Swift can own her narrative, thank you very much, while still retaining a lyrical elegance. \n\nThough 2017’s reputation might have been perceived as a gorgeously constructed piece of dramatic theater—its attendant heroes and villains all real-life characters from Swift’s public feuds—all that spectacle proved an attention-grabbing cover for her most romantic album yet. She turned up the romance even more on 2019’s Lover, but it was 2020’s folklore and its companion, evermore—ruminative, relatively lo-fi albums written and recorded during the COVID-19 pandemic—that earned her the Apple Music Award for Songwriter of the Year. 2022’s Midnights came next, which she wrote and produced with Jack Antonoff, and described as “the stories of 13 sleepless nights scattered throughout my life.”\n\nIn 2023, Swift undertook one of the most ambitious road shows of all time: the multiyear Eras Tour, which saw her presenting new and classic material across more than 100 locales worldwide: just one of many reasons she was named Apple Music's Artist of the Year for 2023. She returned to the soft, comfortable, bed-like sonics of Midnights for her 11th album, 2024’s THE TORTURED POETS DEPARTMENT. A study in extremes and heightened emotions, it was her most specific, candid, unsparing work to date—and it was followed by another whiplash turn when she reunited with Max Martin the following year for The Life of a Showgirl. “Making this was really something I’ve been wanting to do for my entire career, because I have always wanted to have fun in this type of way,” she said to Apple Music’s Zane Lowe. “To have fun, to exhibit mischief, and be flirty and fun and make jokes—that’s a huge part of my personality.”",
"description": {
"title": null,
"tagline": null,
"short": "Favorite Taylor’s artist page for updates on The Life of a Showgirl.",
"full": null
},
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},
"motion_artwork": null,
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"id": "14",
"name": "Pop",
"link": "https://itunes.apple.com/us/genre/id14",
"parent_id": "34",
"parent_name": "Music"
},
"radio_station": {
"id": "ra.159260351",
"name": "Taylor Swift & Similar Artists Station",
"link": "https://music.apple.com/us/station/taylor-swift-similar-artists-station/ra.159260351",
"kind": "artist_seeded",
"provider_name": null,
"media_kind": "audio",
"stream_type": null,
"episode_number": null,
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"duration": null,
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},
"latest_release": {
"id": "6818017938",
"name": "Patient Zero (Video Bundle) - Single",
"link": "https://music.apple.com/us/album/patient-zero-video-bundle-single/6818017938",
"artist_name": "Taylor Swift",
"release_type": "single",
"record_label": "Taylor Swift",
"copyright": "℗ 2026 Taylor Swift",
"upc": "00881061707646",
"release_date": "2026-10-03",
"track_count": 3,
"genres": [
"Pop",
"Music"
],
"audio_traits": [
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"lossless",
"lossy_stereo",
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],
"is_single": true,
"is_compilation": false,
"is_complete": false,
"is_prerelease": false,
"is_mastered_for_itunes": true,
"is_explicit": false,
"is_clean_version": false,
"description": {
"title": null,
"tagline": "Watch Now",
"short": "Watch an expanded eight-minute version of the video.",
"full": null
},
"artwork": {
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},
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},
"top_songs": [
{
"id": "6814997425",
"name": "Patient Zero",
"link": "https://music.apple.com/us/album/patient-zero/6814997249?i=6814997425",
"artist_name": "Taylor Swift",
"album_id": "6814997249",
"album_name": "The Life of a Showgirl: The Encore",
"album_artist_name": "Taylor Swift",
"composer_name": "Taylor Swift, Max Martin & Shellback",
"isrc": "USUG12602391",
"release_date": "2026-09-24",
"duration_ms": 225868,
"duration": "3:45",
"track_number": 1,
"disc_number": 2,
"genres": [
"Pop",
"Music"
],
"audio_language": "en-US",
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"lossy_stereo",
"spatial"
],
"is_explicit": false,
"is_clean_version": false,
"has_lyrics": true,
"has_time_synced_lyrics": true,
"is_apple_digital_master": true,
"is_mastered_for_itunes": true,
"is_sing_along_available": false,
"lyrics_excerpt": "If you wanna party with somebody\nWho might know about the devil on his shoulder under his halo",
"preview_link": "https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview211/v4/0b/be/8c/0bbe8c0a-dc77-af41-97a5-c745cc43d38c/mzaf_9923110470598242279.plus.aac.ep.m4a",
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"artwork": {
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"width": 3000,
"height": 3000,
"background_color": "#2b080c"
}
},
{
"id": "6814997428",
"name": "Pink Clouding",
"link": "https://music.apple.com/us/album/pink-clouding/6814997249?i=6814997428",
"artist_name": "Taylor Swift",
"album_id": "6814997249",
"album_name": "The Life of a Showgirl: The Encore",
"album_artist_name": "Taylor Swift",
"composer_name": "Taylor Swift, Max Martin & Shellback",
"isrc": "USUG12609684",
"release_date": "2026-09-24",
"duration_ms": 190690,
"duration": "3:10",
"track_number": 3,
"disc_number": 2,
"genres": [
"Pop",
"Music"
],
"audio_language": "en-US",
"audio_traits": [
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"lossless",
"lossy_stereo",
"spatial"
],
"is_explicit": false,
"is_clean_version": false,
"has_lyrics": true,
"has_time_synced_lyrics": true,
"is_apple_digital_master": true,
"is_mastered_for_itunes": true,
"is_sing_along_available": false,
"lyrics_excerpt": "Met the magenta sunrise\nFuchsia forever intertwined\nThrew the rosewood on the fire",
"preview_link": "https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview221/v4/1e/88/d5/1e88d560-253f-3fa2-87a0-2f83b9681948/mzaf_10026060183860270404.plus.aac.ep.m4a",
"description": null,
"artwork": {
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"width": 3000,
"height": 3000,
"background_color": "#2b080c"
}
},
{
"id": "1833328840",
"name": "The Fate of Ophelia",
"link": "https://music.apple.com/us/album/the-fate-of-ophelia/1833328839?i=1833328840",
"artist_name": "Taylor Swift",
"album_id": "1833328839",
"album_name": "The Life of a Showgirl",
"album_artist_name": "Taylor Swift",
"composer_name": "Taylor Swift, Max Martin & Shellback",
"isrc": "USUG12506436",
"release_date": "2025-10-03",
"duration_ms": 226074,
"duration": "3:46",
"track_number": 1,
"disc_number": 1,
"genres": [
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"Music"
],
"audio_language": "en-US",
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],
"is_explicit": false,
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"has_lyrics": true,
"has_time_synced_lyrics": true,
"is_apple_digital_master": true,
"is_mastered_for_itunes": true,
"is_sing_along_available": true,
"lyrics_excerpt": "I heard you calling on the megaphone\nYou wanna see me all alone\nAs legend has it, you",
"preview_link": "https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview221/v4/4b/07/28/4b07285f-b50c-7aff-cb40-2d732256b703/mzaf_14590041634085649439.plus.aac.ep.m4a",
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},
{
"id": "6814997429",
"name": "Babylon",
"link": "https://music.apple.com/us/album/babylon/6814997249?i=6814997429",
"artist_name": "Taylor Swift",
"album_id": "6814997249",
"album_name": "The Life of a Showgirl: The Encore",
"album_artist_name": "Taylor Swift",
"composer_name": "Taylor Swift, Max Martin & Shellback",
"isrc": "USUG12609685",
"release_date": "2026-09-24",
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"genres": [
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"Music"
],
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"lyrics_excerpt": "The casino doesn't like when you run the tables",
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"height": 3000,
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},
{
"id": "6814997427",
"name": "Cleveland!",
"link": "https://music.apple.com/us/album/cleveland/6814997249?i=6814997427",
"artist_name": "Taylor Swift",
"album_id": "6814997249",
"album_name": "The Life of a Showgirl: The Encore",
"album_artist_name": "Taylor Swift",
"composer_name": "Taylor Swift, Max Martin & Shellback",
"isrc": "USUG12609683",
"release_date": "2026-09-24",
"duration_ms": 206165,
"duration": "3:26",
"track_number": 2,
"disc_number": 2,
"genres": [
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"Music"
],
"audio_language": "en-US",
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],
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"has_lyrics": true,
"has_time_synced_lyrics": true,
"is_apple_digital_master": true,
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"is_sing_along_available": false,
"lyrics_excerpt": "She's not as hot as she was, but she was only a four\nShe was never a girls' girl, she was just a–",
"preview_link": "https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview221/v4/39/42/5b/39425b91-27b1-4b37-2f57-6f704fa5d8a6/mzaf_15803901041667745843.plus.aac.ep.m4a",
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},
{
"id": "1833328845",
"name": "Opalite",
"link": "https://music.apple.com/us/album/opalite/1833328839?i=1833328845",
"artist_name": "Taylor Swift",
"album_id": "1833328839",
"album_name": "The Life of a Showgirl",
"album_artist_name": "Taylor Swift",
"composer_name": "Taylor Swift, Max Martin & Shellback",
"isrc": "USUG12506438",
"release_date": "2025-10-03",
"duration_ms": 235356,
"duration": "3:55",
"track_number": 3,
"disc_number": 1,
"genres": [
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"Music"
],
"audio_language": "en-US",
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],
"is_explicit": false,
"is_clean_version": false,
"has_lyrics": true,
"has_time_synced_lyrics": true,
"is_apple_digital_master": true,
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"is_sing_along_available": true,
"lyrics_excerpt": "I had a bad habit\nOf missing lovers past\nMy brother used to call it",
"preview_link": "https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview221/v4/69/ea/d8/69ead898-7583-9bca-8be9-5f4e2140783f/mzaf_12714361777901114441.plus.aac.ep.m4a",
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"background_color": "#4c592e"
}
},
{
"id": "1833328842",
"name": "Elizabeth Taylor",
"link": "https://music.apple.com/us/album/elizabeth-taylor/1833328839?i=1833328842",
"artist_name": "Taylor Swift",
"album_id": "1833328839",
"album_name": "The Life of a Showgirl",
"album_artist_name": "Taylor Swift",
"composer_name": "Taylor Swift, Max Martin & Shellback",
"isrc": "USUG12506437",
"release_date": "2025-10-03",
"duration_ms": 208292,
"duration": "3:28",
"track_number": 2,
"disc_number": 1,
"genres": [
"Pop",
"Music"
],
"audio_language": "en-US",
"audio_traits": [
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],
"is_explicit": false,
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"short": "When Taylor Swift introduced herself as a commanding pop supernova.",
"full": "Nashville was never big enough to contain Taylor Swift. So for her fourth album, she turned to Sweden for a pop-hit crash course from the biggest expert she should find: Max Martin. After spending her teens dominating the pop charts as a country artist, it was time for Swift to get a taste of making pure pop music. Red was the first toe-dip into a sound that would come to define much of her career: a seamless blend between her country roots and her pop ambitions.\n\nWith Martin and his collaborator Shellback, Swift blended guitar riffs with EDM drum fills and dub drops. Gleeful kiss-off “We Are Never Ever Getting Back Together” bait-and-switches with a country guitar riff bleeding into four-on-the-floor bass drum beats and synthesizers. The song would cause a lot of commotion before garnering Swift her first-ever No. 1 hit. On “I Knew You Were Trouble,” Swift is even more experimental, with a full dubstep build-up and drop hitting during the chorus. \n\nSwift would save a full-blown pop album for her next; Red was just a bit of a teaser that still focuses on the country sound she was known for. In order to bridge the disparate energies of a synth-explosion like “22” with the down-home twanginess of one like “Stay Stay Stay,” she often finds herself pulling inspiration from the ’80s stadium rock of stars like Bruce Springsteen, U2, and Tom Petty. She goes full “American Girl” on “State of Grace” and makes pal Ed Sheeran the Don Henley to her Stevie Nicks on “Everything Has Changed.”\n\nThe crown jewel of the album, however, sits at that infamous Track 5 spot. “All Too Well” takes the best of all Swift’s worlds and pours them into an emotional, heart-wrenching, brilliant power ballad. Even Swift herself has regarded it as one of her best, the truest breakup song in an album that she has referred to as her “only true break-up album.”"
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And he probably has a few more cuts dedicated to him—the most direct being the saucy, ’70s-funk-infused “Wood” and its “new heights of manhood” revelation. “When I met Travis, I started to feel a little bit like I could be like a person who could have romantic whims and have these dreams,” she says.\n\n“Actually Romantic,” with its semi-stripped-down production, deals not with a lover but with a certain hater. “You think I’m tacky, baby/Stop talking dirty to me/It sounded nasty, but it feels like you’re flirting with me/I mind my business, God’s my witness that I don’t provoke it/It’s kind of making me wet,” Swift teases. 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"full": "What’s a girl gonna do after the record-smashing Eras Tour? Well, its success sparked the flame inside Taylor Swift that led to a reunion with former collaborators Max Martin and Shellback for her 12th full-length The Life of a Showgirl. Indeed, in a very showgirl manner, Swift flew back and forth to Sweden between stops on her European leg—remember, the singer-songwriter believes “jet lag is a choice”—to join Martin and Shellback, Swift’s co-writers and producers on some of the most memorable and popular hits of her career (“We Are Never Ever Getting Back Together,” “22,” “Shake It Off,” “Blank Space,” “Don’t Blame Me,” and “Delicate,” to name a few). The result? A confident, dazzling, at times elegant, at times cheeky, at times sensual pop explosion that examines Swift’s relationships and her fame, which is both deeply personal yet extremely relatable...mostly. (The struggles of “Elizabeth Taylor”—with its thumping rock vibes—can understandably be reserved for the uber-famous showgirls in the room.)\n\n“This album, by personality, was a funnier album,” she tells Apple Music’s Zane Lowe. “It was coming off of TORTURED POETS DEPARTMENT—the character attributes I was highlighting in that writing process were much more serious and sensitive and introspective, and oftentimes more earnest and stoic, and the characteristics of a poet. This one was like, showgirls are mischievous, fun, scandalous, sexy, fun, flirty, hilarious.” On the album’s first single “The Fate of Ophelia,” Swift tests that theory by dipping back into the Shakespearean well that earned her crossover success and adoring fans, and once again, she turns the Bard’s tale into a romance rather than a tragedy. But this time, it’s more mature and fierce—as the acceptant heroine resigns herself to solitude before the hero ever comes around: “I swore my loyalty to me, myself, and I/Right before you lit my sky up.”\n\nHer muses, of course, will be well-dissected. The aforementioned savior in “Ophelia” is most likely Swift’s husband-to-be, the three-time Super Bowl champion Travis Kelce. (She did, after all, announce the album on his podcast.) And he probably has a few more cuts dedicated to him—the most direct being the saucy, ’70s-funk-infused “Wood” and its “new heights of manhood” revelation. “When I met Travis, I started to feel a little bit like I could be like a person who could have romantic whims and have these dreams,” she says.\n\n“Actually Romantic,” with its semi-stripped-down production, deals not with a lover but with a certain hater. “You think I’m tacky, baby/Stop talking dirty to me/It sounded nasty but it feels like you’re flirting with me/I mind my business, God’s my witness that I don’t provoke it/It’s kind of making me wet,” Swift teases. And “Father Figure” pays homage to George Michael with Swift’s breathy vocals, ending with a menacing act of betrayal by a protégé: “You made a deal with this devil/Turns out my dick’s bigger/You want a fight, you found it/I got the place surrounded.”\n\nImportantly, though, remove Swift’s own personal inspirations and score-settling and you get what she does best: vibrant songs that speak to universal emotions through her storytelling. The buoyant “Opalite” shows two people finding each other at the right time; baroque-pop “Wi$h Li$t” portrays someone who knows what her heart desires. And “Eldest Daughter,” the famous track 5—generally one of Swift’s most vulnerable on each of her albums—reveals a promise of devotion.\n\nSwift ends the record on its title track, an epic duet with Sabrina Carpenter where the women volley back and forth about a girl named Kitty, perhaps alluding to their own places in the world. “And all the headshots on the walls of the dance hall are of the bitches who wish I’d hurry up and die/But I’m immortal now, baby dolls, I couldn’t if I tried,” Swift sings proudly. In other words, as she’s proven time and time again, she’ll never go out of style.\n\n“Making this was really something I’ve been wanting to do for my entire career, because I have always wanted to have fun in this type of way,” she says. “To have fun, to exhibit mischief and be flirty and fun and make jokes—that’s a huge part of my personality. Oftentimes, I get so serious, or I’m really known for a lot of my sad songs, my cathartic songs or breakup songs or whatever, because I love to write those things—but that’s not the place I’m in my life. So what I have left behind is something that really exhibits who I am in this moment.”"
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"full": "In the 18 months after Taylor Swift released Midnights, it often felt as though the universe had fully opened up to her. The Eras Tour was breaking records and blowing past the billion-dollar mark; its attendant concert film became the highest-grossing of all time. She generated interest and commerce and headlines everywhere she stepped foot, from tour stops to the tunnels of NFL stadiums. In 2023, she was named both TIME magazine’s Person of the Year and—just as iconic, tbh—Apple Music’s Artist of the Year. \n\nBut do songs about that level of success speak to you? As the news broke that her highly private six-year relationship to Joe Alwyn had ended, Swifties started Swiftie-ing, quickly recirculating a clip on social media of Swift a few weeks earlier, onstage during an early Eras show, in tears as she sang “champagne problems”—a song she and Alwyn had written together. It was a reminder that, despite the superhero-like aura she now radiates, Swift, at her peak, still hurts like the rest of us. What sets her apart is her ability to sublimate that pain into pop. When she announced her 11th studio album in early 2024—while accepting another Grammy, as one does—we probably shouldn’t have been surprised. \n\n“I needed to make it,” she’d say of THE TORTURED POETS DEPARTMENT a few weeks later, to a crowd of—[rubs eyes]—96,000 in Melbourne, Australia. “I’ve never had an album where I’ve needed songwriting more than I needed it on TORTURED POETS.” Working again with trusted collaborators Jack Antonoff and Aaron Dessner, she returns to the soft, comfortable, bed-like sonics of Midnights. But the stakes feel noticeably higher here: This isn’t so much a breakup album as it is a deep-sea exploration of everything Swift has been feeling, a plunge through emotional debris. \n\nOn “But Daddy I Love Him”—over strings and guitar that faintly recall her country roots—she lashes out at the crush of scrutiny and expectation she’s been subject to from the start. Naturally, catharsis comes after the chorus: “I’ll tell you something right now,” she sings. “I’d rather burn my whole life down than listen to one more second of all this bitching and moaning.” On “Florida!!!” she and Florence + the Machine team up for a pulpy escape fantasy wherein they Thelma and Louise their way down to the Sunshine State in hopes of starting over with new lives and identities: “Love left me like this,” they sing. “And I don’t want to exist.”\n\nAt turns hilarious and heartbreaking, TTPD is a study in extremes, Swift leaning into heightened emotions with heightened, hyperbolic, ALL-CAPS language and imagery—how we think when we’re drunk on love or flattened by its sudden disappearance. Note the dark humor she weaves through the Post Malone-enriched opener “Fortnight” (“Your wife waters flowers/I wanna kill her”). Or the thrilling self-deprecation of “Down Bad,” a foray into science fiction wherein Swift likens the warmth of a relationship to being abducted by love-bombing extraterrestrials—only to be left “naked and alone, in a field in my same old town.” \n\nBut this remains her most candid and unsparing work to date: As a listener, you frequently get the feeling that you’ve stumbled across emails she’d written but never sent, or into conversations you were never meant to hear. There’s a density and a specificity and a ferocity to her lyrical work here that makes 2012’s “All Too Well” feel sorta light by comparison. If you’re the kind of Swiftie who likes to live in the details, well, this one might be your Super Bowl. “You swore that you loved me, but where were the clues?” she asks on the devastating “So Long, London,” a high point. “I died on the altar waiting for the proof.” Alone at a piano on the haunting “loml,” she flips the script on someone who’d told her she was the love of their life, by telling them that they were the loss of hers: “I’ll still see it until I die.” \n\nThe story, as you likely know, doesn’t end there. We get a glimpse of new beginnings in “The Alchemy” (“This happens once every few lifetimes/These chemicals hit me like white wine”) and something like triumph in the montage-ready synths of “I Can Do It With a Broken Heart,” when Swift, shattered on the floor, “as the crowd was chanting, ‘More!’,” still finds the strength to deliver: “’Cause I’m a real tough kid and I can handle my shit.” \n\nBut we also get a sense of acceptance, of newfound perspective. On “Clara Bow”—named after a 1920s movie star who was able to survive the jump from silent film to sound—Swift reflects on the journey of a small-town girl made good, sung from the vantage of an industry obsessed with the next big thing. She zooms out and out and out until, in the album’s closing seconds, she’s singing about herself in the third person, in past tense, acknowledging that nothing is forever. “You look like Taylor Swift in this light, we’re loving it,” she sings. “You’ve got edge she never did/The future’s bright, dazzling.”"
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"full": "100 Best Albums When Taylor Swift announced that 1989 (Taylor’s Version) was finally seeing release, she mentioned that, of all the albums she’s faithfully rerecorded in her quest to retake her master tapes, this one was special. “The 1989 album changed my life in countless ways,” she wrote on Instagram. “To be perfectly honest, this is my most FAVORITE re-record I’ve ever done because the 5 From The Vault tracks are so insane. I can’t believe they were ever left behind.”\n\nFrom “Now That We Don’t Talk” (on which, wowee zowee, she sings, “I don’t have to pretend I like acid rock/Or that I’d like to be on a mega-yacht/With important men who think important thoughts”) to “Say Don’t Go” to “Is It Over Now?”, one gets a real feel for the ferocity and focus with which she was writing at the time, a new audience in sight. It’s not just that any one of the newly uncovered songs here is more than strong enough to have been included (or strong enough to have launched the career of a less prolific artist); it’s that, even on material previously deemed inessential, Swift sounds comfortable bordering on imperious—like she’d been making lush, montage-ready pop music all along. \n\nNearly a decade later—and at the tail end of a 2023 in which her every move seems to have determined pop-cultural weather—it’s weirdly easy to forget that in 2014, she was still approaching (nah, engineering) an inflection point in her life and career, reintroducing herself (at just 24) as the all-conquering, planet-like presence we know today. She’d already started adjusting the ratio of country to pop on 2010’s Speak Now and 2012’s Red, working with Swedish superproducers Max Martin and Shellback on the latter. On 1989, Swift did away with the idea of ratios entirely—just launched them into the ocean, and went all the way. \n\nMusically, it wasn’t just her embrace of big beats and shiny surfaces, but a sense of lightness and play as well. Where 2008’s Fearless and Speak Now take their dramas to Shakespearean heights, 1989 celebrates a newly liberated life of flings (“Style”), weekend getaways (“Wildest Dreams”), and the kind of confidence a younger Taylor Swift was too passionately involved to grasp. So while “Welcome to New York” is her way of letting everyone know that she’s at least momentarily done with country music and Nashville and the constrictions they put on her image and sound, it’s also a song about turning your eye outward and surrendering to the possibilities only a city like New York can offer. And where she may have taken things personally in the past, now she’s just trying to have fun (“Shake It Off”). “Blank Space” even manages to make light of her gravest and most well-protected subject: Taylor Swift.\n\nLike Shania Twain’s Come On Over or even Bob Dylan’s Bringing It All Back Home, 1989 is an instance in which an artist deliberately defies expectations and still manages to succeed. Swift didn’t exactly grow up with the synthesized, ’80s-inspired sounds that producers like Martin, Shellback, Ryan Tedder, and future bestie Jack Antonoff help her create here; as the album’s title reminds you, she wasn’t even born until the decade was ending. But just as she played with the traditions and conventions of country music on her early albums, Swift uses the nostalgia of 1989 not to look back, but to move ahead."
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"full": "“Real life is a funny thing, you know,” Taylor Swift wrote in the liner notes of 2010’s Speak Now, her third album and the third she’s rerecorded as part of a sweeping effort to regain her master tapes. “There is a time for silence. There is a time for waiting your turn. But if you know how you feel, and you so clearly know what you need to say, you’ll know it.”\n\nSwift was in her early twenties when she wrote Speak Now, still finding her voice as an artist and as an adult. But she’s faithful to her originals here—all of them written on her own, on tour, without co-writers—and faithful to a much younger version of herself. She pays tribute to early influences like Fall Out Boy and Paramore’s Hayley Williams, teaming up with them on the reimagined “from the vault” tracks “Electric Touch” and “Castles Crumbling,” respectively. And though she swaps Nashville producer Nathan Chapman for more recent collaborators Jack Antonoff and Aaron Dessner, the arrangements are still warm and clear—minus a coat of varnish or two—with an eye towards the sort of all-encompassing pop she’d inevitably, wholeheartedly embrace. We all know what came next for Swift with 2012’s Red, but, looking back, you can easily see and hear what’s on the horizon in these songs. \n\nThe grace of Speak Now is in how it makes simple work out of feelings that are anything but. Swift is vulnerable here, but she’s also self-empowered (“Mean”). She’s innocent, but knows when to take responsibility (“Dear John”). She’s wise enough to regret her mistakes (“Back to December”), but not too jaded see the best in people (“Innocent”). Does she want to grow up? Yes, if that means more agency and independence (“Speak Now”). But when you’re all alone in that new apartment, you still might cry—not just for the childhood home you left, but for the knowledge that you can never go back (“Never Grow Up”).\n\nThe sound is big, but the details are extremely specific—at one point, Swift says her rival thinks she’s crazy because Swift likes to rhyme her name with things (pop-punk blowout “Better Than Revenge”). It’s that balance—the universal and the specific, the accessible and the obscure—that not only sets Swift apart from most contemporary pop songwriters, but makes her a guide for anyone trying to sort out the impossible avalanche of feelings early adulthood brings.\n\nNot that you have to be a teenager to resonate with her. If anything, what makes Swift special is her hunch that everyone has had their turn at the heartache she writes about, whether they’re ready to admit it or not. In her liner notes for Fearless, she described the power of believing in Prince Charmings and happily-ever-afters. On Speak Now, most of the Prince Charmings turn out to be duds, and the real happily-ever-after is the wisdom and resilience you find in falling for them anyway."
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"full": "Let’s start with that speech. In September 2022, as Taylor Swift accepted Songwriter-Artist of the Decade honors at the Nashville Songwriter Awards, the headline was that Swift had unveiled an admittedly “dorky” system she’d developed for organizing her own songs. Quill Pen, Fountain Pen, Glitter Gel Pen: three categories of lyrics, three imagined tools with which she wrote them, one pretty ingenious way to invite obsessive fans to lovingly obsess all the more.\n\nAnd yet, perhaps the real takeaway was the manner in which she spoke about her craft that night, some 20 years after writing her first song at the age of 12. “I love doing this thing we are fortunate enough to call a job,” she said to a room of her peers. “Writing songs is my life’s work and my hobby and my never-ending thrill. A song can defy logic or time. A good song transports you to your truest feelings and translates those feelings for you. A good song stays with you even when people or feelings don’t.”\n\nOn Midnights, her tenth LP and fourth in as many years—if you don’t count the two she’s just rerecorded and buttressed with dozens of additional tracks—Swift sounds like she’s really enjoying her work, playing with language like kids do with gum, thrilling to the texture of every turn of phrase, the charge in every melody and satisfying rhyme. Alongside longtime collaborator Jack Antonoff, she’s set out here to tell “the stories of 13 sleepless nights scattered throughout [her] life,” as she phrased it in a message to Apple Music subscribers. It’s a concept that naturally calls for a nocturnal palette: slower tempos, hushed atmosphere, negative space like night sky. \n\nThe sound is fully modern (synths you’d want to eat or sleep in, low end that sits comfortably on your chest), while the aesthetic (soft focus, wood paneling, tracklist on the cover) is decidedly mid-century, much like the Mad Men-inspired title of its brooding opener, “Lavender Haze”—a song about finding refuge in the glow of intimacy. “Talk your talk and go viral,” she sings, in reference to the maelstrom of outside interest in her six-year relationship with actor Joe Alwyn. “I just want this love spiral.” (A big shout to Antonoff for those spongy backup vocals, btw.) \n\nIn large part, Midnights is a record of interiors, Swift letting us glimpse the chaos inside her head (“Anti-Hero,” wall-to-wall zingers) and the stillness of her relationship (“Sweet Nothing,” co-written by Alwyn under his William Bowery pseudonym). For “Snow on the Beach,” she teams up with Lana Del Rey—an artist whose instinct for mood and theatrical framing seems to have influenced Swift’s recent catalog—recalling the magic of an impossible night over a backdrop of pizzicato violin, sleigh bells, and dreamy Mellotron, like the earliest hours of Christmas morning. “I’ve never seen someone lit from within,” Swift sings. “Blurring out my periphery.” \n\nBut then there’s “Bejeweled,” a late, 1989-like highlight on which she announces to an unappreciative partner, a few seconds in: “And by the way, I’m going out tonight.” And then out Swift goes, striding through the center of the song like she would the room: “I can still make the whole place shimmer,” she sings, relishing that last word. “And when I meet the band, they ask, ‘Do you have a man?’/I could still say, ‘I don’t remember.’” There are traces of melancholy layered in (see: “sapphire tears on my face”), but the song feels like a triumph, the sort of unabashed, extroverted fun that would have probably seemed out of place in the lockdown indie of 2020’s folklore and evermore. But here, side by side with songs and scenes of such writerly indulgence, it’s right at home—more proof that the terms “singer-songwriter” and “universal pop star” aren’t mutually exclusive ideas. “What’s a girl gonna do?” Swift asks at its climax. “A diamond’s gotta shine.”\n\nThis special expanded version of Midnights includes three additional songs."
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