Midnights – Looking at Taylor Swift’s Career from Then to Now

Like many great pop stars before her, Taylor Swift’s career can be defined in eras. The heartland pop of her self-titled debut and Fearless showcased an embryonic songwriting talent, twisting tales of lost love, heartbreak and youth amongst the countrified twang of acoustic guitars, fiddles and banjos (including that particularly plucky melody that introduces and permeates ‘Love Story’ – one of her first international hits).

She would top off this particular sound, and her transition into adulthood, with her third album, Speak Now.

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Then came Red, released to critical plaudits that have only intensified as the album ages – it remains a fan favourite. The released continued the transitional vibe of Speak Now, though not just in its lyrical content, instead, it marks the introduction of elements of out and out pop (realised through the supercharged production of now omnipresent Swedish hit makers) – with typically huge choruses on many of its singles, anthemic guitars on its opening track, a bombastic dubstep influence on ‘I Knew You Were Trouble’ and a versatility in Swift’s voice that would continue throughout her career.

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By 2014, her country roots had basically eroded – still, critical praise and fan admiration remained strong, with chart topping singles including ‘Shake it Off’ and ‘Blank Space’, as well as the ethereal, soaring ‘Wildest Dreams’ and the pounding, retro funk-pop of ‘Style’ – which appeared on many critics year end lists as one of the finest songs of 2014.

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After a three year break, and a period of intense and leering tabloid scrutiny came Reputation. Swift’s music has always been defined by the contrast in her public status as an internationally famous pop star, and her intimate, personal experiences, but none of her albums seemed like such a reaction to the former. Critical response was generally positive, but it’s respectively abrasive sound and lyrical content, although a symbol of resilience, seemed to diminish what people appreciated about the latter.

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Then came Lover. In the technicolour production of its music videos, and its bright, electro-pop sound, the album is, in my opinion, more of a revolution than its predecessor – not necessarily in dismantling the pop mould – but in its unashamed optimism (‘Miss Americana & the Heartbreak Prince’ notwithstanding). It’s something that I often find grating, and I have to admit: listening to ‘London Boy’ – as someone who often finds themselves in the English capital – is amusing in its love-struck naivety. I’ve been to Shoreditch in the afternoon, and there was a lot of traffic.

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But the bubble-gum aesthetics and cheerfully rebellious song writing of tracks like ‘You Need to Calm Down’ would disappear as Swift transitioned into her next period, with the indie folk inspired releases of Folklore and Evermore. In these sister albums, escapist lyrics were matched with nuanced vocals and textured instrumentation. Swift would find greater critical acclimation, and write some of her finest songs, exploring a richer breadth of concepts – and characters.

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With her reclamation and re-release of her original recordings, the clock turns to Midnights. A concept album, drawing on half-slept reveries and all too involved subconscious terrors, it looks to be her most experimental project to date – which is something you probably wouldn’t have been able to say with a straight face after listening to her self-titled. But that’s the mark of a great pop star, the ability to evolve, to challenge pop conventions, while still pumping out tracks that are imminently sing-able after the first listen.

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You’ll notice I’ve been pretty heaping in my praise here – and I should add that not everything Taylor Swift has done, whether musically – or in some fairly untactful business decisions – is deserving of uncritical examination. But you can still appreciate someone’s music and remain conscious of the issues permeating the music industry, many of which Swift has been a victim of.

Regardless, many long-time fans, and once dismissive recent converts such as myself, are looking forward to the release of Midnights on October 21st.