Aliza Warner
Fans were ecstatic when Taylor Swift announced her new album, “The Tortured Poets Department” after winning Best Pop Vocal Album at the 2024 Grammy Awards earlier this year for her tenth studio album, “Midnights.”
The reveal of her new album cover displayed a new melancholic aesthetic and the tagline “all’s fair in love and poetry” — a twist on the famous idiom, “all’s fair in love and war.” It was safe to assume that Swift’s latest work would be one of her most vulnerable yet.
Initially containing 16 tracks, Swift surprised the world in the early hours of release day by announcing at 2 a.m. on April 19 that the new album is actually a double album titled “The Tortured Poets Department: The Anthology.” With an additional 15 songs, the album’s tracklist rose to a total of 31 new songs to be shared with Swifties around the world.
Although heartbreak songs are not new for the singer and songwriter, this album fully embraces the complexities of experiencing heartbreak and grief through a display of stunningly creative and imaginative lyrics and a mix of pop-alternative tones and lots of stunning piano ballads.
The opening track, “Fortnight” featuring Post Malone captures the complicated emotions and feelings of a fresh heartbreak. This smooth, synth-pop alternative song has lyrics that display the mix of caring feelings with resentment, with lines like “I love you, it’s ruining my life.”
“My Boy Only Breaks His Favorite Toys” and “Down Bad” embrace the the rage and grief of heartbreak, with clever metaphors and all-or-nothing attitudes that capture authentic, grieving emotions.
“So Long, London” marked one of the first shifts in the album. Opening with choir-like vocals, it transitions to a gentle pop ballad that represents someone coming to terms with the end of a relationship despite efforts trying to prevent it.
You can feel the exhaustive emotions and resolve in the lyrics, “You swore that you loved me, but where were the clues? / I died on the altar waiting for the proof.”
Swift also captures another aspect of heartbreak — denial and the indulgence of vices — with several songs that delve into different chaotic fantasies.
“But Daddy, I Love Him” is a folky, upbeat tune about crazy behaviors and the loss of common sense. It reverts to youthful ignorance, disregarding judging eyes and opinions, with teasing lyrics, “Screaming, ‘But Daddy, I love him!’ / I’m having his baby / No, I’m not, but you should see your faces.”
The second collaboration on the album with Florence + the Machine, “Florida!!!” is a prime example of a summer alternative rock anthem that compares the state to a device used to escape pain.
“I Can Fix Him (No Really I Can)” is a playful ode to the classic, yet toxic romance trope that love can magically fix the “bad boy” and his issues — a fantasy that we have all most likely indulged in. The song gives off a country tone, where Swift repeatedly promises she can fix her dangerous bad boy with a catchy chorus, “But your good Lord doesn’t need to lift a finger / I can fix him, no really I can / And only I can.” It seems that she is set in her ways until the very end of the song, when she has a surprise switch up of the lyrics and an abrupt realization, “Whoa, maybe I can’t.”
But of course, some songs are just pure pain with heart-shattering, yet beautiful lyrics.
One of the many powerful piano ballads in the album, “loml,” is a double-edged sword. Within the song, “loml” begins as “love of my life,” it transitions to “You’re the loss of my life,” as Swift demonstrates her deeply reflective lyricism.
“I Can Do It With A Broken Heart,” is about putting up a happy front as Swift combats her sadness. The song is so danceable, but the lyrics juxtaposed with the pop-dance music are jarring (which is most definitely the point), “’Cause I’m miserable!// And nobody even knows!”
While many songs were about heartbreak, the album also has a few love songs like “The Alchemy” and the joyful pop-rock tune “So High School.”
There were many songs that I was drawn to by their creative storytelling and analogies. The album has the same energy as if I were reading a book. I am a sucker for clever references and songs that become visual in my mind through lyrics.
“Clara Bow,” draws parallels between different famous women and “The Albatross,” takes on a fable-like structure. “I Hate It Here” describes the beauty and tragedy of imaginative escapism and “Cassandra” makes use of references to Greek mythology.
“The Bolter” was another standout. Its toe-tapping guitar strings tell a story about a woman leaving toxic relationships and situations and finding freedom: “But as she was leaving// It felt like breathing.”
The final song on the entire album (including the anthology edition), “The Manuscript,” is the perfect conclusion to a real and emotionally sweeping body of work. This song perfectly encapsulates the main point of the album to look back, reflect and embrace the good, bad and everything in between, then share it with the world to truly end the story: “Now and then I reread the manuscript / But the story isn’t mine anymore.”
Calling this just an album about heartbreak would not do it justice. It is a complex stream of emotions, and this album shows that with captivating lyrics and music. At least one song will hit you right in the heart with its emotional vulnerability. I know I have one — or several — that did just that.
Swift’s “The Tortured Poet’s Department: The Anthology” reminds us that heartbreak is not just about being sad – it can also be about being angry, crazy, ignorant, foolish, reminiscent and even relieved.
