Taylor Swift is an artist who needs no introduction. The world has never known this level of celebrity before her early 2000s debut. She breaks the mold further by accumulating accolades mostly from the legion of diehard fans who resonate with her two-decades-long discography. One might imagine that by an 11th studio album for a star of this magnitude, things could become stale—but one might be wrong. This era for Swift seems to be a rebirth; she has risen from the ashes time and time again, but now, she seemingly feels a sense of agency that otherwise passed her by. Her newest effort, ‘The Tortured Poets Department,’ showcases the work of an artist who has worked her whole life with no signs of retiring any time soon…because she loves to create as much as her audience loves to hear what she creates. ‘Midnights’ felt restrictive, despite her successfully removing herself from some contractual obligations, but now, the seed she planted with the ideas from that record has fully blossomed with this one.

Though her reputation spans far and wide, Swift is not normally known as an artistic risk-taker, contradicting her Sagitarian nature. However, her spirit shines when she dabbles in experimental pop. In this record, Swift returns to borrowing techniques from the decade she was born at the tail end of. Production efforts of long-time collaborator Jack Antanoff showcase a love of 1980s new wave synth-pop that emphasizes the singer’s natural alto range. Swift is not only a masterful storyteller, but one of the most impressively low alto vocalists within the past several eras of mainstream music. This record provides some of Swift’s most impressive vocal performances to date, especially since the style used is often untouched by the top 40 charts. Some of the low notes she’s hitting throughout the record are truly incredible.

It wouldn’t be a Taylor Swift album without carefully curated lyrics. Though she is perhaps the most famous person in the world, she still manages to effectively write from a personal level that resonates with fans. ‘The Tortured Poets Department’ was the best title she could have chosen for this record. It is rumored that the record is inspired by a short-lived summer fling with Matty Healy. While that may be true, the lyrics are deeply self-aware. Swift isn’t trying to be like the rest of us because she knows she has transcended far beyond that point; instead, she’s telling her story—and as a result, people can find their meaning within her art. That is what tortured poets have always done, after all.

Star-studded collaborations align the pages of Swift’s poetry booklet, with Post Malone and Florence + The Machine making appearances. “Fortnight” was a fascinating choice as an album-opener; the song itself is strong lyrically and musically, but there was a bit left to be desired from Post Malone’s collaborative efforts. A guest artist doesn’t necessarily need to do an entire verse for it to be a successful collaboration, of course! However, Post Malone’s vocal range, paired with Swift’s, is an immaculate combination. If they had given us a bit more together, “Fortnight” would have made it into my top 5 breakdown for the album. Instead, “Florida!!!” takes its spot for a number of reasons, but namely because the two collaborators utilized their compatible skills to create something magical. “Florida!!!” is one of the best songs on the record, and Floridian Swifties will likely be treated well when the singer revisits their state.

The song titles are another indicator that Swift was committed to having fun with this record. She has been known to take pages out of her diary, turning them into gold, and this subtle decision ultimately made the messages within these songs feel more real. It’s been awhile since shorthand song titles have seen the light of day, but Swift’s “loml” took long-term audiences back to her roots. At the end of the day, Taylor Swift is as famous as she is because people felt what she was singing. Music is a universal language, and whether you are a freshly-made billionaire or not, audiences can still be touched by deeply personalized artistry. If anything, Swift’s sense of self-awareness is admirable since she has not strayed away from the singer-songwriter path, even all these years later. She is writing hits, even if they are not necessarily geared to radio. Songs like “loml” will be remembered by fans forever, since she is unintentionally telling their stories by telling her own.

Swift has also always had a knack for writing breakup songs, but not in the way that critics might surmise. Rather, “So Long, London” details an extraordinarily painful 6-year relationship that at least one of the participants could feel was doomed from the start. Many could argue that her ex-boyfriend’s avoidance of being in the public eye should spare him the grievances of Swift’s pen post-breakup. However, it wouldn’t be fair to haphazardly distribute exemptions to people who willingly date singer-songwriters. The lyrics in “So Long, London” make me ache for Swift rather than dislike her ex, as she is earnestly re-hashing things that hurt her deeply. Many women face a conundrum when they date men who would be a perfect match, in another lifetime where they want the same things. You fall in love with not just the person, but their family, and all the places they show you along the way. This is what makes Taylor Swift’s fanbase so dedicated; it’s not necessarily that she is speaking for them, as it is clear she is not quite like everyone else and hasn’t been for a while, but that she still manages to effectively articulate how they’re feeling just because she’s a human who is living experiences, albeit insanely glamorous ones.

A deep dive into ‘The Tortured Poets Department’ would require an anthology, but this record is among Swift’s best. Here she is, nearly 20 years after her teenage self launched a career beyond anyone’s wildest dreams, with more passion and vigor than audiences have seen from the artist in years. Perhaps she has revived her love of music and art by reclaiming what is rightfully hers. Or, maybe, through loving and learning, Swift has unlocked a new level of depth within her work, despite other factors that could otherwise relinquish any sense of relatablity that she once had. The fact that Swift can still get me excited about her work after I heard Our Song on the radio in 5th grade is immeasurably impressive.

Listen to ‘The Tortured Poets Department’ by clicking HERE!