TTPD<\/em>\u2019s title alone \u201ccalls even more attention to her lyricism than usual.\u201d<\/p>\nSwift\u2019s music has always felt like journal entries meant for the public, chock-full of inside references, Easter eggs and thinly veiled digs at former lovers. Her earlier works were therefore highly relatable for scores of teenagers around the world. But as her success ballooned, so has she grown out of touch with the average person, and her songs have consequently become more like glimpses into a life that mere mortals can only dream about. While her pieces continue to feel like blogs or Tumblr posts, Swift controls the narrative by carefully orchestrating not just synths, guitars and lyrics, but also pap walks and delicately timed public appearances.<\/p>\n
Unlike Grande, who has mostly avoided appearing with Slater at high-profile events and also hasn\u2019t hidden as many Easter eggs in her songs, Swift has not been afraid to show off and show up for her new partner. She\u2019s not publicity-averse; she seems to anticipate and almost courts it.<\/p>\n
With the general strategy around TTPD<\/em>, like announcing it at the Grammy\u2019s and slow teases of lyrics and cover art, it certainly seems like these days, the billionaire with a private jet problem is more focused on her myth and financial value than the art of songwriting.<\/p>\nSwift surprised everyone at 2AM on April 19 by releasing a whole 15<\/em> more songs alongside the initial 16 people were expecting for TTPD<\/em>. This meant that anyone who pre-ordered the original album would miss out on basically an entire second album worth of tracks and need to spend more. The Swift team also made several versions of the physical album available, like collectors\u2019 editions \u2014 all blatant cash grabs designed to maximize revenue.<\/p>\nGrande is guilty of this too, making so many different iterations of \u201cYes, and?\u201d when that single was released in what seemed like an attempt to place the song at the top of streaming charts. ES<\/em> also has different versions of cover art for fans to spend their hard-earned money on.<\/p>\nHere\u2019s the thing. Do I care deeply about either of these albums? Nope. Did I eagerly listen to them, hoping to glean insight on their seemingly messy and chaotic relationships? Yes. But despite Swift\u2019s marketing and positioning herself as a poet \u2014 and TTPD<\/em> offering more of a look at her fling with Matty Healy from The 1975 \u2014 I realized I just didn\u2019t quite like her album musically. In fact, my favorite Swift songs like \u201cWildest Dreams\u201d and \u201cDelicate\u201d are beautiful symphonies of atmospheric synths and instrumentation.<\/p>\nMaybe I\u2019m just learning that I care more about music than lyrics. Or maybe I think good songs are a combination of the two and should speak for themselves without having to rely on hype, gossip and marketing tactics. To be fair, that\u2019s true of all art, whether it\u2019s film, photography or poetry. And while the irony of my being sucked into playing TTPD<\/em> and ES<\/em> due to the promise of learning about their lives isn\u2019t lost on me, I guess I just wish I could listen to music (and read books and watch movies) without having to worry or be so concerned about the creator\u2019s choices and actions. But in 2024 (and beyond), that seems no longer feasible.<\/p>\n","protected":false},"excerpt":{"rendered":"In this installment of what we’re listening to, Reviews Editor Cherlynn Low dives into new releases from Taylor Swift and Ariana Grande, and explores what music means to us when songs are consumed more like books and journal entries. Cherlynn Low, Deputy Editor, Reviews April 19 should have been declared a global holiday. It was, […]<\/p>\n","protected":false},"author":6,"featured_media":4893,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7448,219,3790,1318,95,2081],"tags":[7449,222,3792,1321,101,2084],"yoast_head":"\n
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