In 2006, I spastically danced in clogs to Taylor Swift's self-titled album as I belted along to “Our Song” and “Picture to Burn.” Since then, I have been nothing short of a committed fan through her exodus of self-exploration with albums featuring songs: “Breathe,” “Never Grow Up,” “Begin Again," “Clean” and “End Game.” I taped pictures of her to my middle school locker, and I cried when Santa Claus magically knew that tickets to her Speak Now concert were my dream come true.
Now you know you are reading the highly biased opinions of a true “Swiftie,” so feel free to take my thoughts on her latest album with a grain (or heap) of salt.
The eras of Swift have deepened my appreciation for her artistry and her ability to connect with heart-broken, soul-searching and hopeful listeners. Her latest album, Lover, has only emphasized my adoration for a voice that can resonate with many. Adopting a dazzling daydream aesthetic, “Lover” is a soundtrack that evokes badass energy and self-reflection.
Swift extends an invitation to enter a magical realm where it is acceptable to emote hope, pain, desire and an abyss of confusion that muddles the heart. The breadth of her album speaks to an array of life experiences that are akin to a rollercoaster, and Swift paints this ride using pastels, shiny things and a sentiment that love is all prevailing.
Her album has been my antidote during a time of personal hardship. “Soon You’ll Bet Better” was the last song I listened to before hearing news of my uncle’s passing. Cancer took his life, as it threatened to do to both of Swift's parents. Her words are heavy with pain and a sense of accompanying hope — a necessary garment of grievance.
“Death By A Thousand Cuts” is another reminder that it is OK to not be OK, and how many micro-aggressions and needles of hurt can cause immense pain. These songs came into my life when I needed them, and I know I am not alone in reveling in the power of hopefulness Lover emanates.
Still looking for another reason to transform yourself into a “Swiftie?” Here’s one: Swift speaks out about inequality of the sexes. Recent data from the World Economic Forum estimates it will take the world an average of 108 years to reach gender equity. This sucks, and Swift agrees.
In her song, “The Man,” she articulates masculine toxicity: “What’s it like to brag about raking in dollars and getting bitches and models?” Swift has finally embraced her voice to speak out about issues in our country and around the world. Thank you, Taylor, for the refreshing message of empowerment and for validating the frustrations of many women.
Now committed to pop, Swift still intertwines her lyrics with ideas debuted in earlier albums. “Cruel Summer,” a song off her new album, mentions summer nights spent sneaking through garden gates for love — anyone else reminiscing back to “Love Story?”
