I am unabashedly overjoyed about Fearless, the new Taylor Swift album.Â It is freakishly good.Â And I’m not the only one who thinks so.Â Both the New Yorker and the New York Times have highly complimentary reviews of both Swift and her sophomore album.
The New Yorker article in particular has a fascinating read on Swift’s genius:
You could also give a Swift composition like â€œOur Songâ€? to someone twenty years older and it could work just fine. The concerns of kids arenâ€™t necessarily juvenileâ€”just their reactions. Bridging this gap is the trick of pop music; when people sing â€œLove Me Doâ€? to themselves on their way to a date ten years on the other side of their second divorce, itâ€™s a sign that a young songwriter has got to a universal truth. This kind of precocious wisdom is embedded in the work of songwriters like Hank Williams, Prince, Elvis Costello, and Randy Newman. People who arenâ€™t old enough to have lived the songs theyâ€™ve written nevertheless know how the song embodying that life should go.
Swift’s songs are weirdly immortal already, even though some of them were released all of two days ago. She’s good at taking a moment or a scene that’s prototypical and giving it enough of a twist that it doesn’t seem generic anymore, even though it could still apply to pretty much anyone.Â Part of this is achieved by using real names when she writes about friends and boys in her life, but a lot of it is in her songwriting skills in general.Â Here’s a verse from her song ’15:’
When all you wanted was to be wanted
Wish you could go back and tell yourself what you know now
Back then I swore I was gonna marry him someday
But I realized some bigger dreams of mine
And Abigail gave everything she had to a boy
Who changed his mind and we both cried
It’s a universal truth backed up with an anecdote about Abigail, who really is her best friend.
The other component to Swift’s success is how available she makes herself to her fans.Â The Times explains: