Taylor Swift's TTPD - A Symphony Of Songwriting & Storytelling
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Apr. 21, 2024 • By Jason Elhilow
DescriptionA review of Taylor Swift's album The Tortured Poets Department and how it showcases her powerful songwriting and storytelling.
MessageWe recommend listening to The Tortured Poets Department to form your own opinions about the album.
Image
WRTNIntroductionJust when you think Taylor Swift has bared it all, she shatters expectations. On April 19th, the artist released another highly anticipated studio album, The Tortured Poets Department, a masterpiece that showcases her exceptional songwriting prowess and storytelling genius. This sixteen-track magnum opus (thirty-one if you include The Antholgy, her surprise second edition of the album) is a deeply personal and emotional journey, with each song meticulously crafted to transport listeners to a world of love, heartache, and self-discovery.
With its release, Swift once again proves herself as a gifted taleteller, weaving intricate narratives with her poignant lyrics. And though not every song was my jam, there were some that stuck out as truly stellar additions to her discography. So, let's take a look.
Favorite SongsMy first batch of TTPD favorites includes the potent pair of My Boy Only Breaks His Favorite Toys and So Long, London. Both songs are undeniably about past relationships, a familiar theme for Swift. Toys pounds with a synth-heavy beat, mirroring the frantic energy of love shattered while comparing a former flame to a careless child who destroys their most beloved possessions. In contrast, So Long, London washes over the listener with a stirring soundscape of echoing vocals and a booming bass, perfectly capturing the bittersweet freedom of finally letting go after a long and invested relationship. These two songs, together with other tracks, work as the opening acts to a raw, emotional diary, something that I just love. However, the next batch of Tortured picks delve into a subject perhaps even harder to dissect than past lovers: herself.
The most vulnerable, yet fun, duo from TTPD is track 10, Who's Afraid Of Little Old Me?, and track 13, I Can Do It With A Broken Heart. Afraid explodes onto the scene with its ethereal melody and building bass, Swift attacking her public portrayal by the media, highlighting how she has been torn down time and time again and distilled into a near-demonized figure. But should they fear Swift? Yes. Because nothing is going to stop her. Broken Heart complements this perfectly, offering a glimpse into the emotional toll this constant scrutiny takes and how her love life plays into it. The song is a masterclass in juxtaposition, as beneath its poppy production and cheerful chorus is a deeper truth: the reminder that even in her worst states, she has to get up, smile for the cameras, and hold back even the strongest of emotions, all to protect herself. Together, these two act as the self-reflective core of the LP—a poignant playlist of performed poetry that's both candid and thoughtful. Even though they exist in her reality, those feelings are beyond relatable, making WAOLOM and ICDIWABH some of the best on the record. However, these first four songs are nothing compared to what's next.
The crown jewel of The Tortured Poets Department, for me, is the scathing The Smallest Man Who Ever Lived. While I'm not one to dissect Swfit's love life, context is crucial here. Between the end of her six-year stay with Britsh actor Joe Alwyn (explains So Long, London) and her current relationship with football player Travis Kelce, rumors swirled about a brief fling with Matty Healy, frontman of the band The 1975. Healy's reputation precedes him, as spats with rising stars to downright offensive remarks trail him. Quite plainly, he's not the best guy. Yet somehow, in the whirlwind of 2023, Swift found herself entangled with him. He was a rebound for her, but for him, she was an accessory to wear. Swift alleges in the song that he at first showered her with affection and grand gestures, but brutally exposes that he "didn't measure up" in "any measure of a man." For him, things weren't "sexy once it wasn't forbidden," hinting at it being more of an affair than a relationship. This all ends with the reveal that he "left by the morning," showing that he never truly cared for her, and that before she could end things, it was over. Yet, The Smallest Man Who Ever Lived transcends a personal attack; it uncovers a pervasive issue—men who view women as disposable playthings—and is followed by a defiant message of "NEVER AGAIN." It's so personal, so emotion-laden, so rage-filled, yet strangely calm, standing out in a rather similar-sounding record. That's what elevates it to the album's best, and is why it's my undisputed favorite.
ConclusionThe Tortured Poets Department is more than just a breakup album: it's a testament to Swift's artistic evolution. With its constant genre-bending, introspective lyrics, and sprawling stories, TTPD offers a cathartic experience for both the artist and her listeners. As her final feelings fade, it reminds us that even a woman who seemingly has it all can still FEEL so small; it reminds us that nothing, whether it's stardom or heartbreak, strips us of our humanity. Storytelling is her bow, songwriting her arrows, all of which are aimed at the hearts of millions as they tune in to watch the internal battle she fights. And as they get pierced by those words, by her music, they are brought right into Swift's inner war, finally seeing how this fearless warrior is no different from themselves. TTPD is a symphony of exactly this, of her strongest songwriting and storytelling. It's the symphony of the one—and only—Taylor Swift.
With its release, Swift once again proves herself as a gifted taleteller, weaving intricate narratives with her poignant lyrics. And though not every song was my jam, there were some that stuck out as truly stellar additions to her discography. So, let's take a look.
Favorite SongsMy first batch of TTPD favorites includes the potent pair of My Boy Only Breaks His Favorite Toys and So Long, London. Both songs are undeniably about past relationships, a familiar theme for Swift. Toys pounds with a synth-heavy beat, mirroring the frantic energy of love shattered while comparing a former flame to a careless child who destroys their most beloved possessions. In contrast, So Long, London washes over the listener with a stirring soundscape of echoing vocals and a booming bass, perfectly capturing the bittersweet freedom of finally letting go after a long and invested relationship. These two songs, together with other tracks, work as the opening acts to a raw, emotional diary, something that I just love. However, the next batch of Tortured picks delve into a subject perhaps even harder to dissect than past lovers: herself.
The most vulnerable, yet fun, duo from TTPD is track 10, Who's Afraid Of Little Old Me?, and track 13, I Can Do It With A Broken Heart. Afraid explodes onto the scene with its ethereal melody and building bass, Swift attacking her public portrayal by the media, highlighting how she has been torn down time and time again and distilled into a near-demonized figure. But should they fear Swift? Yes. Because nothing is going to stop her. Broken Heart complements this perfectly, offering a glimpse into the emotional toll this constant scrutiny takes and how her love life plays into it. The song is a masterclass in juxtaposition, as beneath its poppy production and cheerful chorus is a deeper truth: the reminder that even in her worst states, she has to get up, smile for the cameras, and hold back even the strongest of emotions, all to protect herself. Together, these two act as the self-reflective core of the LP—a poignant playlist of performed poetry that's both candid and thoughtful. Even though they exist in her reality, those feelings are beyond relatable, making WAOLOM and ICDIWABH some of the best on the record. However, these first four songs are nothing compared to what's next.
The crown jewel of The Tortured Poets Department, for me, is the scathing The Smallest Man Who Ever Lived. While I'm not one to dissect Swfit's love life, context is crucial here. Between the end of her six-year stay with Britsh actor Joe Alwyn (explains So Long, London) and her current relationship with football player Travis Kelce, rumors swirled about a brief fling with Matty Healy, frontman of the band The 1975. Healy's reputation precedes him, as spats with rising stars to downright offensive remarks trail him. Quite plainly, he's not the best guy. Yet somehow, in the whirlwind of 2023, Swift found herself entangled with him. He was a rebound for her, but for him, she was an accessory to wear. Swift alleges in the song that he at first showered her with affection and grand gestures, but brutally exposes that he "didn't measure up" in "any measure of a man." For him, things weren't "sexy once it wasn't forbidden," hinting at it being more of an affair than a relationship. This all ends with the reveal that he "left by the morning," showing that he never truly cared for her, and that before she could end things, it was over. Yet, The Smallest Man Who Ever Lived transcends a personal attack; it uncovers a pervasive issue—men who view women as disposable playthings—and is followed by a defiant message of "NEVER AGAIN." It's so personal, so emotion-laden, so rage-filled, yet strangely calm, standing out in a rather similar-sounding record. That's what elevates it to the album's best, and is why it's my undisputed favorite.
ConclusionThe Tortured Poets Department is more than just a breakup album: it's a testament to Swift's artistic evolution. With its constant genre-bending, introspective lyrics, and sprawling stories, TTPD offers a cathartic experience for both the artist and her listeners. As her final feelings fade, it reminds us that even a woman who seemingly has it all can still FEEL so small; it reminds us that nothing, whether it's stardom or heartbreak, strips us of our humanity. Storytelling is her bow, songwriting her arrows, all of which are aimed at the hearts of millions as they tune in to watch the internal battle she fights. And as they get pierced by those words, by her music, they are brought right into Swift's inner war, finally seeing how this fearless warrior is no different from themselves. TTPD is a symphony of exactly this, of her strongest songwriting and storytelling. It's the symphony of the one—and only—Taylor Swift.
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