“The Tortured Poets Department” According To A Tortured Journalist

So, here’s the breakdown. Sorry for the one day delay, this was a lot to unpack.

In the wee hours of Friday morning (or, 9 p.m. for us west coasters), Taylor Swift awoke her thousands of fans worldwide from their slumber with her much anticipated 11th studio album “The Tortured Poets Department.” Mere hours later, the Grammy winning singer’s “easter egg” strategy of flashing a mysterious two finger symbol was proven meaningful after all, and the album turned out to be a double LP, with the second half titled “The Anthology.” 

I am prefacing this review with context–I have been a fan of Swift’s since my early childhood. Her “Speak Now” concert at Madison Square Garden in 2011 was my first concert, and her duet of “Iris” with the GooGoo Dolls, dazzling backdrops, and emotional delivery of “Dear John” are forever engraved in my mind. I attended the Eras Tour last spring dressed as “Red”, my favorite era. This is largely because “Red” was re-released during my senior year of college, and returned to my life in a moment when I really needed it.

My look for The Eras Tour in Nashville last year

This in mind, Swift’s contextualization of womanhood through music is what has kept me hooked as a listener for many years. Without further ado, here are my thoughts on the album. I’ve divided it in half for your reading pleasure, so more to come on “The Anthology” later!

Swift performing at the Nissan Stadium, photo by me!

“The Tortured Poets Department”

The album opens in a dream-like state, one that conjures images of reading a book under the covers with a flashlight, or the sense of a late night phone call with a dear friend who just had their heart broken. The synth infused “Fortnight” featuring a dash of Post Malone (arguably, he deserved more time) is one of the many Jack Antonoff produced tracks on the first half of the album.