Taylor Swift wrote so much “tortured poetry” over the past two years that she didn't know what to do with it all.
In true TSwift style, the pop star surprised fans with 15 bonus songs two hours after the release.The Department of Tortured Poets” on Friday. The second installment, titled “The Anthology,” came as no real surprise to eagle-eyed Swifties who had been watching the singer drop hints at number two since announcing the album in February at the Grammys.
With 31 tracks across the two albums, fans have been breaking down the songs and analyzing the lyrics since the clock struck midnight. Here are the best songs from the double album.
'See you later, London'
Even with its impressive melody, the lyrics are the star of this song. Fans speculate that the song is a sequel of sorts to “London Boy” from 2019’s “Lover,” which details the high points of his relationship with his former longtime partner. Joe Alwyn. “So Long, London” continues Swift's tradition of saving the most devastatingly beautiful melody for track 5, with a level of emotional vulnerability and truth that goes beyond what the singer usually displays. “I'm pissed 'cause you let me give you all that youth for free,” Swift sings with an edge she could kill.
“And I'm getting the color back in my face / I'm so mad 'cause I loved this place / For so long, London,” she sings as she seamlessly returns to the chorus.
'Who's afraid of little me?'
In this harsh critique of the music business, Swift describes how the “circus life” made her “bad.” She pokes fun at the rumors about her that have arisen during her time in the spotlight and executes it all with a raw, passionate voice. In the chorus, she jumps an octave to scream the song's title: it's haunting and relentless. The punchy chorus makes this song more memorable than some of its melodically repetitive peers.
'But daddy I love him'
Only Swift could pull off a song that simultaneously grabs the attention of her fan base and instantly becomes one of their favorites. In this song, which appears to address the criticism Swift faced over her brief relationship with The 1975's controversial frontman. matty healeySwift says she would rather “burn [her] All my life down” than to “listen to one more second of all these complaints and moans” about the adventure. The verses lean into Swift's country roots and then blossom into a familiar, pop-infused chorus.
Swift is probably the only artist who could capture the phrase “prudishly performing soliloquies” into an upbeat tune.
'I can do it with a broken heart'
This brilliant song is a classic Swift move: an upbeat tune that makes you want to dance. But that bubbly melody is accompanied by some of her most crushing lyrics (have you heard the bridge of “Cruel Summer” lately?). Through those crushing lyrics, Swift admits that while she was selling out stadiums and bringing the dazzling Ages tour Across the country this summer, she was recovering from her breakup with Alwyn.
“All my pieces shattered as the crowd chanted 'More,'” he sings. The incongruity of the lyrics and the cheerful melody convey the pain she was experiencing at the peak of her career. “You know you're good when you can do it even with a broken heart,” she sings, cheekily adding, “Try to come get my job,” to close the song.
'The black dog'
This gentle ballad opens the album's second installment with a surprisingly relatable breakup experience: checking the location of your ex-boyfriend's phone, which he forgot to stop sharing. She details her ex, presumably Alwyn, walking into a bar called the Black Dog (in London), leaving her wondering how she doesn't miss her more. “Old habits die loudly,” she sings, suggesting that she is having a hard time letting go of the relationship.
'The smallest man who ever lived'
In another song rumored to be about Healy, Swift says she doesn't want her ex back, she just wants to know if “the rust is in danger.” [her] The goal was a brilliant summer.” The searing song details the end of a relationship that deeply affected Swift; “I would have died for your sins / Instead I just died inside,” she sings. The bridge is one of the best on the album, with haunting lyrics and stellar production.
'So high school'
“So High School” features one of the album's catchiest melodies, reminiscent of a nostalgic sound from the late '90s or early 2000s, which is reflected in the sentimental lyrics. The tune is rumored to be about Swift's relationship with Travis Kelce, which, according to this song, ignites a childish vertigo in her. Like “The Alchemy,” some of the lyrics are too direct about footballer Kelce (“You know how to play ball, I know Aristotle”), but Aaron Dessner's wispy vocals and wistful production set it apart as one of the best songs. of the lot.
'Florida!!!' (feat. Florence + tmachine)
Fans were eagerly anticipating the collaboration between Swift and Florence Welch from Florence + the Machine, and it did not disappoint. The duo sing that the titular state is “one hell of a drug” in the poignant song about not feeling at home wherever they go. The escapist anthem features plenty of rich vocals from Welch, much to the relief of fans who have criticized the singer for the brief performances of previous collaborators, notably King's wool in “Snow on the Beach.”
'Pedro'
Referencing the story of Peter Pan, this ballad explores the pain of the growing distance between Swift and someone from her past. She says that “Peter” was going to grow up and then come back for her, but he never does. This song marks the second time Swift has alluded to the story of Peter Pan, with the first mention of it in “Cardigan” from “Folklore”: “I tried to change the ending / Peter losing Wendy.” Despite its repetitive chorus, the melody is moving and reminiscent of “New Year's Day,” a fan favorite from “Reputation.”
'down bad'
“Down Bad” is a pure pop hit, with a clear influence from Swift's longtime collaborator and producer Jack Antonoff. The moody chorus (“Now I'm down, crying in the gym / It all comes out of teenage petulance / Fuck, if I can't have it / I could die, it wouldn't make a difference”) is combined with a catchy, made-for-radio tune. The song seems to be taken from a hybrid of “1989” and “Midnights”.
