*This article was intended to be published in the senior edition of The Amplifier, “Storybook Ending,” but due to a printing error it is now being republished on our website. We apologize for the confusion.*

After just over a year and a half since her last album, singer-songwriter Taylor Swift released “THE TORTURED POETS DEPARTMENT” on April 19. Since the release of her 2022 album, “Midnights,” Swift has only risen in popularity, a feat that didn’t seem possible. This is due to her record breaking success with “The Eras Tour” and the “Eras Tour” movie, which became the highest grossing concert film of all time.

Swift announced her new album during the 2024 Grammy’s Ceremony, causing anticipation from “Swifties” and the general public. Just a few hours after the initial release of the album, Swift released, “THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY,” adding 15 more songs to the already lengthy 16-song album.

This album, with a length of over two hours, is bloated, lacks dynamics, and features some of her worst lyrics ever; with awkward swearing, cheap football allusions, in reference to her football star boyfriend, Travis Kelce, and frequent, shallow references to poetry. Mentioning typewriters and Patti Smith may create an interesting aesthetic, but offer very little substance when actually examined.

Oftentimes, an album with subpar lyrics can still be of a very high quality. However, with Swift and this album in particular, the lyrics are the main selling point. With her long-time collaborator Jack Antonoff creating spacy, synth heavy soundscapes that only bring to light the predictable chord progressions and melodies, the lyrics and the celebrity singing them is the only thing that keeps this album from being boring background music to a futuristic, gentrified coffee shop. 

Before exploring the stale production and the often mediocre lyrics, it is important to understand what both Swift and Antonoff are capable of. 

The latter has produced some of the best and most influential pop albums of the past decade, including the sonically dense yet easily enjoyable 2017 album “Melodrama” by Lorde, and the 2019 pop masterpiece, “Norman F*cking Rockwell!” by Lana Del Rey. Antonoff’s production played a central role in the creation of both of these albums. 

Little has to be said about what Swift can do with the art of songwriting. One only needs to look at her 2020 album “Folklore,” with the elaborate love triangle story that unfolds throughout the entire album, showcasing her incredible skill and experience with storytelling, while still sounding deeply personal and emotional. 

She’s also proven herself as one of the most successful pop artists and songwriters of the 21st century, with albums such as “1989,” which shows Swift teaming up with some of the best writers in the music industry, including Max Martin, Ryan Tedder, Shellback, and of course, Jack Antonoff. These collaborations created memorable and iconic songs such as “Style,” and “Blank Space.” 

The magic that these two can create together is still showcased on Swift’s newest album, however these moments are few and far between. 

“Guilty As Sin?” is the best example of this. This song is very simple musically, yet still features a memorable chorus that pairs well with the laidback sonics created by Antonoff. One could argue that “Guilty as Sin?” isn’t too different from some of Swift’s earlier songs. With a few different choices regarding instrumentation, and perhaps a change in subject matter, it isn’t hard to imagine this song being on an album like “Fearless,” fitting in nicely with the simple, yet highly effective love songs that make up the entirety of her impressive second album.

“THE TORTURED POETS DEPARTMENT” features a few other highlights but over all, it has few stylistic changes and is full of lyrics that rely on the listeners knowledge of Swift’s history and love life in order for them to make any sense. It seems that lyrics acting as fanservice or subtle references to her past are prioritized over lyrics that actually say things about her perception of the world and the unique position she is in. 

Swift could have made any kind of album she wanted, and because of her extreme fame and success, she would have millions of fans ready to listen. Swift has little left to prove and few obstacles to overcome. The music reflects the safe and successful position Swift has worked so hard to be in. However, on this album Swift sounds comfortable, static, and reluctant to try new things. Some discomfort and risk taking is needed in order for Swift to further herself as an artist, as well as a poet.