מחלקת המשוררים המעונים ושמש נצחית

In this chapter of what we are listening to, the reviews editor, Charline Lavoie, dives into new editions of Taylor Swift and Ariana Grande, investigating the meaning of music for us when songs are consumed more like books and journal entries.

Charline Lavoie, Deputy Editor, Reviews

It was supposed to be declared a world holiday on April 19. It was, after all, the release day of Taylor Swift's highly anticipated album, The Tortured Poets Department (TTPD). How could we have expected to work on this hype of Fridays, when there were words that needed to be analyzed excessively and set to an emo beat?

Taylor Swift – The Tortured Poets Department

I confess: I kinda hate myself for bopping to albums like TTPD and Ariana Grande's Eternal Sunshine (ES). Both musicians recently left long-term relationships and met new gals, amid enthusiastic media coverage and relentless gossip on Reddit. I generally prefer to hear from the people involved rather than read tabloid articles based on what "close friends" said, and for Swift and Grande, the songs usually speak closer to the sources, as far as I could gather.

I saw in these albums opportunities to get their take on what happened. Yes, it's always wise to take their words with a generous pinch of salt, as therapists tend to remember that their patients' recurring stories can be biased or untrustworthy.

Both Grande and Swift have made their love lives the subject of their music for years, and often exude an air of defiance. Headlines like "See what you made me do" and "So what?" make me think of people who blame others or don't care about the consequences of their actions. Even songs like Swift's "Anti-Hero" from her latest album and Grande's "Thank U, Next" seem at first glance to be about taking responsibility, but actually continue the theme of evading true accountability.

I'm not sure if music has always been rooted in a thorough examination of the artist's life, but it certainly seems to have become more popular in recent years. The level of interest and analysis around simple things like word choice or song structure has never been so high. It's worth considering that these two ugly albums were released within just one month of each other. Yes, Swift's new music was released just about 40 hours ago, with 31 full songs stretching over 65 minutes and 8 full seconds, so I'll have to listen to it a few more times for it all to sink in.

Grande's album, released last month, has been hailed by fans and critics alike. It was released shortly after her breakup from Dalton Gomez and her budding (reportedly) relationship with actor Ethan Slater.

When I initially played ES, I was mostly bewildered and annoyed. There wasn't, as expected, any accountability for what her actions did to the mother of a newborn and a lot of romanticization of her last lover. But even on my second listen, I knew I had some favorite tracks. Other Engadget staff members agree with me: ES is a solid album with quite a few anthems.

Ariana Grande – Eternal Sunshine

Maybe I don't approve of Grande's behavior – and no one asked me to – but darn it, I just can't help but love her music. And that's probably because I'm addicted to melodies and production, not the lyrical content.

Swift, on the other hand, seems more like a verbose wordsmith. Much has been said about her lyrical abilities, and I don't want to beat a dead horse. I'll just say that as an occasional verbose poet myself, I have to appreciate the laissez-faire approach of "apartment" with "departed" line.

What interests me more is what seems to be a preference for lyrics over the melody and sound of a song. Like Cross-Country Road Sign from various states, TTPD's headline alone "draws even more attention to her lyrics than usual."

Swift's music has always felt like excerpts from a journal meant for public consumption, filled with internal references, Easter eggs, and intricate dives into past lovers. Her previous works were accessible to dozens of teenagers worldwide. But as her success has grown, she has distanced herself from the average person, and as a result, her songs have become more like glimpses into a life that only the elite dream of. While her tracks still feel like blog posts or Tumblr entries, Swift controls the narrative through an intricate orchestration not just of synths, guitars, and words, but also of pop tricks and well-timed public appearances.

Unlike Grande, who mostly refrained from appearing publicly with Slater and didn't hide too many Easter eggs in her songs, Swift didn't shy away from publicity and performing for her new beau. She doesn't shy away from promotion; it seems she anticipates and almost revels in it.

With the overall strategy surrounding TTPD like announcing it at the Grammys and slow trickle of words and cover art, it certainly seems that these days, the billionaire with a private jet is more focused on her myth and financial value rather than the art of songwriting.

Swift surprised everyone at 2:00 AM on April 19 by releasing a whole 15 additional songs alongside the original TTPD's 16 tracks. This means that anyone who preordered the original album would actually miss out on a whole second album of full tracks and have to spend more. Swift's team also crafted several physical versions of the album for availability, like limited edition box sets – all quick cash grabs designed to maximize profits.

Grande is guilty of this too, creating so many different iterations of "So What?" when the single was released in what seems like an attempt to place the song at the top of the streaming charts. ES also has different versions of cover art for fans to splurge their hard-earned money on.

Here's the thing. Do I care very much about any of these albums? No. Have I listened to them eagerly, hoping to gain insights into their messy and quirky relationships? Yes. But despite Swift's poetic marketing and positioning as a poetess – and TTPD offers a deeper look into her revolving with Matty Healy from 1975 – I understood that I simply don't aesthetically like her album. In fact, my favorite tracks from Swift like "Wildest Dreams" and "Delicate" are beautiful symphonies of synths and atmospheric instruments.

Maybe I'm just learning that I care more about music than words. Or maybe I think that good songs are a combination of both and should stand on their own without relying on hype, gossip, and marketing tactics. For the sake of fairness, this applies to all art forms, whether it's cinema, photography, or singing. And while the irony that drew me to play TTPD and ES for the promise of learning about their lives didn't escape me, I suppose I just wish I could listen to music (and read books and watch movies) without worrying or caring so much about the choices and actions of the creators. But in 2024 (and beyond), it's no longer possible.