Taylor Swift’s latest album, “The Tortured Poets Department” (TTPD), has arrived, and initial reactions are as varied as her discography itself. Many listeners, diving in with eager anticipation, might find themselves initially underwhelmed. As a dedicated fan of albums like “Folklore,” “Evermore,” and “Reputation,” even I felt a sense of disorientation on my first listen. Swift’s recent releases, while successful, have sometimes felt like a lot to take in, a sentiment echoed by the sheer volume of content surrounding her in the past year – the massive success of “Midnights,” the record-breaking Eras Tour and its subsequent concert film, and being named Time’s Person of the Year.
However, dismissing “The Tortured Poets Department” after a single playthrough would be a disservice to the intricate artistry Swift has woven into this collection of songs. Taylor Swift doesn’t create music for instant gratification; she crafts sonic tapestries rich with complex metaphors, layered storylines, and lyrical puzzles that demand repeated engagement. You might find yourself reaching for Google to decipher terms like “calamitous” or delving into Genius lyric breakdowns, and even then, subtle nuances might remain elusive. This is music that unfolds gradually, rewarding patient listeners with deeper understanding and emotional resonance.
On first encounter, certain lyrical choices in TTPD might seem jarring. Lines like “we declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep like a tattooed golden retriever,” the frequent name-dropping, and occasionally overly ornate and specific narratives can feel initially awkward. But allowing “The Tortured Poets Department” time to settle, to “marinate,” reveals its true depth. After multiple listens, it becomes clear that this album stakes a claim as Swift’s most heartrending work to date. It’s a collection characterized by emotionally charged lyrics, powerful vocal performances, and profoundly moving themes that resonate long after the music stops.
Before the surprise release of 15 additional tracks, here’s a detailed ranking and analysis of the initial 16 songs on “The Tortured Poets Department,” exploring what makes each track unique and contributing to the album’s overall impact.
16. I Can Do It With a Broken Heart
While the concept behind “I Can Do It With a Broken Heart”— portraying the dichotomy of inner turmoil masked by outward success and performance—is intriguing, the execution feels somewhat disjointed. The sudden beat change evokes an unexpected, almost jarring, feeling, likening it to something more fitting for a Mario Kart soundtrack than a deeply personal album track. The lyric “I’m so depressed I act like it’s my birthday” feels deliberately crafted for TikTok virality, especially with the prominent “one, two, three, four” count-in before the post-chorus, clearly referencing the Eras Tour’s structure. While the dark humor in acknowledging her misery and its hidden nature has a certain appeal, the song ultimately lands in a similar territory as “ME!” – listenable perhaps for ironic amusement, but not a standout in her otherwise sophisticated discography of Ttpd Songs.
15. The Tortured Poets Department
As the title track, “The Tortured Poets Department” carried significant weight of expectation, and unfortunately, it falls somewhat short. Widely speculated to be about her relationship with Matty Healy, the song touches upon the idea that their romance, unlike the legendary pairings of Dylan Thomas and Patti Smith, lacked a certain grandeur. It also addresses the intense media scrutiny and scandal surrounding their brief, two-month relationship. References to marriage appear throughout the album, and surface here as well. However, lyrical choices like “you smoked, then ate seven bars of chocolate / we declared Charlie Puth should be a bigger artist” detract from the song’s potential impact, cheapening the overall poetic ambition suggested by the title and diluting the emotional core of other TTPD songs.
14. The Alchemy
The overt sports metaphors in “The Alchemy”— “sitting on the bench,” “touchdowns,” “teams,” and “trophies”—feel either like an overly simplistic nod to Travis Kelce or a deliberate, yet clumsy, misdirection. The song seemingly explores Swift’s readiness to move on after a breakup and embrace a new romance, acknowledging the undeniable chemistry with the Kansas City Chiefs tight end. A slightly awkward jab at her typical “English men” (“these blokes warm the benches”) further solidifies this interpretation. Sonically, “The Alchemy” is unremarkable, with a relaxed production that fails to elevate the somewhat pedestrian lyrics compared to other, more nuanced TTPD songs.
13. I Can Fix Him (No Really I Can)
Positioned within a similar thematic space as “But Daddy I Love Him,” “I Can Fix Him (No Really I Can)” suffers from a sense of redundancy. This denial-fueled ballad, with its faint Western sonic undertones, contains some noteworthy lyrical moments, but ultimately gets overshadowed by the stronger tracks on the album. Its message, while relatable, doesn’t quite carve out a unique space within the larger narrative of TTPD songs.
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12. loml
“loml” offers sonic echoes of “New Year’s Day” from “Reputation,” yet with a thematic inversion that mirrors a plot twist. While “loml” is commonly understood as “love of my life,” Swift cleverly subverts this, revealing the acronym to stand for “loss of my life.” This ballad, laden with references to marriage (or almost-marriage), portrays Swift mourning a profound void, lamenting “I’ve felt a hole like this never before and ever since.” Likely addressing Joe Alwyn, the song critiques his perceived insincerity in aspiring to be her “love of my life.” Lyrically and thematically, “loml” is compelling, but the subdued sonic landscape makes it somewhat less engaging compared to the more dynamic TTPD songs.
11. The Smallest Man Who Ever Lived
Another track seemingly directed at Healy, “The Smallest Man Who Ever Lived” delves into his alleged pettiness following their breakup. Swift suggests the allure of the relationship faded once it became public, hinting at a point of no return after an unspecified action, and referencing him crashing her “party.” The pointed lyric, “I just want to know if rusting my sparkling summer was the goal,” is particularly cutting. Swift declares her muse falls short of “any measure of a man.” While undeniably scathing, it treads familiar territory in Swift’s discography of vengeful songs and takes time to build momentum, with a payoff that doesn’t quite reach its full potential within the framework of TTPD songs.
10. My Boy Only Breaks His Favorite Toys
In “My Boy Only Breaks His Favorite Toys,” Swift employs the metaphor of a cherished toy, ultimately broken by her lover. The song features a vocally powerful chorus and an even stronger bridge, highlighting the initial excitement of the relationship (“But you should’ve seen him when he first got me”) contrasted with its eventual destructive outcome. Interestingly, the song exhibits a degree of empathy for her ex, with Swift subtly shifting some blame onto herself, acknowledging a shared responsibility in the relationship’s demise. Recurring imagery of Barbies, Kens, army dolls, plastic smiles, and puzzle pieces enriches the song’s thematic depth, making it a standout among the more introspective TTPD songs.
9. But Daddy I Love Him
A welcome moment of levity within the album’s overall somber tone, “But Daddy I Love Him” playfully addresses concerned Swifties and their opinions on her dating life. With tongue-in-cheek humor, she hints at having her muse’s baby, drawing deliberate parallels to the youthful naivete of “Love Story” and her earlier work. However, unlike “Love Story,” this song is knowingly and intentionally naive. Positioned amidst emotionally weighty tracks, “But Daddy I Love Him” provides a much-needed breath of fresh air, and its country-infused production further lightens the album’s mood, offering a different sonic texture within the collection of TTPD songs.
8. Fortnight
Opening the album with a strong collaboration, “Fortnight” features Post Malone in a compelling vocal exchange with Swift, reminiscent of her pairings with Bon Iver on “Exile” and Gary Lightbody on “The Last Time.” The song portrays Swift grappling with lingering feelings for an ex, unable to fully move on. This “bitter Taylor Swift” persona is a fan favorite, and had the song been less melancholic in tone, it could have comfortably resided on “Midnights.” While Post Malone’s presence might initially seem slightly out of place, the track’s undeniable catchiness ultimately makes it a compelling introduction to the world of TTPD songs.
7. Clara Bow
“Clara Bow” is a lyrical and production masterpiece. Swift masterfully transforms the seemingly distant realm of fame and its pitfalls into a deeply relatable narrative. Exploring the pressures of being the “it girl” in Hollywood, this song revisits themes of fleeting fame and public scrutiny previously explored in “The Lucky One,” but with a more mature and nuanced perspective. Referencing Clara Bow draws parallels between the silent film star and contemporary celebrity culture, highlighting shared experiences of beauty, fame, mental health struggles, and relentless public judgment. The production is exquisitely heartbreaking, capturing a universal experience of pressure and expectation felt by women, famous or not. The song’s poignant ending, “you look like Taylor Swift in this light…you’ve got the edge, she never did,” powerfully illustrates the cyclical nature of Hollywood’s relentless pursuit of the next sensation and its emotional toll on those in its orbit, making it a standout among TTPD songs.
6. Florida!!!
“Florida!!!” is the quintessential anthem of escape and shedding burdens. Florence + the Machine’s powerful vocals are seamlessly integrated, echoing the collaborative energy of “Hurricane Drunk.” Swift often uses locations to symbolize her relationships, associating London with ex-boyfriend Alwyn. Florida, in this context, becomes the escape from that London association. With the relationship’s end, her connection to London dissolves, leaving Destin as a symbol of a less idealized reality. The soaring vocal interplay between Swift and Florence Welch at the song’s climax is undeniably potent, making “Florida!!!” a memorable and impactful addition to TTPD songs.
5. Down Bad
“Down Bad” is a quintessential breakup song with a unique and compelling metaphor. The song’s strength lies in the raw emotion conveyed through Swift’s voice, particularly her moments of vocal fragility and layered harmonies. Using the concept of alien abduction as a metaphor, she depicts her lover as someone who offered a glimpse of a greater world, making her feel extraordinary, only to abruptly return her to her previous state. The techno, futuristic, and slightly alien-sounding production elements, especially during the “heaven-struck” lines, enhance the song’s thematic resonance, elevating “Down Bad” beyond a standard breakup track and solidifying its place amongst the most emotionally resonant TTPD songs. Its vulnerability and sincerity are profoundly effective.
4. Guilty as Sin?
This sultry and captivating track unfolds like a steamy romance novel in the best possible way. Echoing the religious undertones of “Don’t Blame Me” and “False God,” Swift draws parallels between romantic infatuation and spiritual experiences. “Guilty as Sin?” revolves around unspoken desires and fantasies, questioning, “without ever touching his skin, how can I be guilty as sin?” While not the most conceptually innovative song on the album, its undeniable catchiness and playful exploration of forbidden thoughts make it instantly memorable. Of all the TTPD songs, this one lingers most persistently in the mind after listening, showcasing Swift’s ability to craft earworms even within a deeply introspective album.
3. Who’s Afraid of Little Old Me?
“Who’s Afraid of Little Old Me?” is arguably the most surprising and impactful track on “The Tortured Poets Department.” While many anticipated a breakup album, this song channels the raw angst and defiance of “Reputation.” It emerges as a powerful statement against the music industry and her critics. Swift confidently asserts her success, turning the tables on the cutthroat industry and challenging public perception. The song is a reclamation of power, with a masterful build-up and a tremendous payoff. It prompts introspection, even for listeners and critics, questioning their own potential biases and judgments towards Swift, and stands out as a powerful and unexpected moment within TTPD songs.
2. Fresh Out the Slammer
“Fresh Out the Slammer” was an immediate standout upon first listen. From Swift’s impressive vocal range to the clever metaphors of being “handcuffed” to a past relationship, culminating in a knockout chorus, the song presents a fresh facet of Swift’s artistry. The production is flawlessly executed, perfectly complementing the song’s themes of escaping a restrictive relationship with Alwyn and returning to a previous love. It is unequivocally a love song, celebrating new beginnings and the intoxicating freedom of a fresh start, making it one of the most immediately appealing TTPD songs.
1. So Long, London
Swift’s track five songs are traditionally her most personal and emotionally raw, and “So Long, London” surpasses even those expectations. It is, without a doubt, the quintessential “track five” in her discography – utterly devastating in its emotional honesty. The song opens with a haunting, choir-like vocal arrangement, and Swift’s delivery takes on a spoken-word poetry quality, each line landing with increasing emotional force. Referencing her previous label for Alwyn as her “London Boy” in “Lover,” “So Long, London” serves as a poignant and direct farewell to their relationship. It perfectly encapsulates the agonizing experience of striving to salvage a failing relationship, clinging to hope and love, yet ultimately acknowledging the necessity of moving on. With its intricate and vivid lyrics, the bridge intensifies the emotional impact, solidifying “So Long, London” as the definitive standout track among all TTPD songs, and a career highlight in Swift’s already impressive catalog.
