When Taylor Swift last released an album, it ended up being among her most divisive work in a career full of criticism. "Reputation" was meant as a defiant, personal look inside a young pop star but came across as self-indulgent and reflected her worst tendencies. So, how does Swift, now on the cusp of turning 30, follow up her most notorious album? As "Lover" suggests, she tries to not lash out at the many exes or paparazzi who confronted her over the past decade but look at herself, finding a rich well of subject matter to pull from in the process. Where "Reputation" was a dark and cynical album, "Lover" is the exact opposite. It's one that sees her entering her next decade with a more mature mindset, looking back on life fondly and forgiving the flaws of her past in favor of supporting the things that she loves. Her third album as a pop diva is one of her most enjoyable albums not only in production, but also in her ability to write love songs not about harsh break-ups, but of understanding in separation.
On the surface, her opening song "I Forgot That You Existed" comes across as well worn territory. After all, it could be this sarcastic shrug that she gives any man she has known. She has written that song a dozen times and had it on the Top 40 charts at least half of that. What could she possibly say that's new at this point? Well, it's actually a credo that goes a different direction. The relationship that ended poorly isn't treated as a chance to throw a musical tantrum, but instead, reflect how she has grown in the time since then. The song's title refers to how someone whose impact wholly traumatized her has lead her to self-acceptance that doesn't come with a verse-chorus-verse. It comes with this exuberance of self, that she's not tied to the past and is instead looking towards the future.
This isn't to say that Swift has fully gotten rid of the subjects that have made her one of the modern pop gods. There's still plenty of discussion of her falling in and out of relationships with some frequency. A few songs mention her getting drunk and wandering around aimlessly. It's well-worn territory that should feel tired by now. However, thee's something different this time around. Swift has moved beyond looking at the negativity in her life. She even writes one of her most self-aware critiques of this in "You Need to Calm Down," which feels like an older Swift telling her younger self to not get caught up in all of the drama that she's become notorious for. Just enjoy life.
There's nostalgia on the album that shows in songs like "Miss Americana & The Heartbreak Prince" in which she transports herself back to high school, using imagery to depict a fantasy reminiscent of "You Belong With Me." Luckily the hooks are in place and her pop song design continues to be an infectious draw. With some songs even feeling reminiscent of her country days, she creates something that feels personal. "Death By a Thousand Cuts" feels like a scarring song, but it holds deeper truths about Swift. She is growing as a person, able to look at the hurt without letting it consume her. Even her closing song, aptly named "Daylight," sounds like the birth of a more positive era for her, where she's shedding all the hatred in favor of supporting what she loves.
What's also incredible is to note that her love songs aren't entirely about romance. Early on she sings about the music industry's treatment of women in "The Man," where she argues that if she was Leonardo DiCaprio, she could get away with living on a yacht and not being a "bitch" but actually a "baller." Later she goes the furthest back that she ever has in her career with "It's Nice to Have a Friend" where she gives a recounting of her childhood with such joyful optimism that it'll bring a smile to your face. She is looking back not only on her past, but assessing the things that give her value. It's a refreshing turn of phrase from her, and at least goes against tired trends in pop music.
Sure, there's downright catchy songs like"Paper Rings" and the lead single "Me!" that feel largely surface-level, but even then are trying to promote a new side of things. If "Reputation" has one positive to it, it likely purged Swift of every negative trend in her body so that she could realize what was important. It's an album that seems a bit vapid in hindsight, but likely helped to pave the way for her overcoming an ego that has plagued her literal reputation for a decade now. She has put aside (mostly) childish things and is now wanting to put feuds to bed and just become someone who plans to make the world a better place.
It's the type of album everyone should make as they approach the end of their 20's: an experimental time where identity is made and narcissism run wild. While it's fun as a young person, the trick is to not grow up with those tendencies. After all, who likes a bitter old man? Swift has realized it just in time and what "Lover" achieves is something therapeutic. Even if it's not her coming to terms with aging, it's likely a pop album that is needed more than ever in 2019, in a time where turmoil on all fronts fill the audience with dread. There's a need for escape, but even more an optimistic view of the future. Having Swift look beyond her flaws is a blessing in that she gets to hopefully expand her appeal with each subsequent album.
The album is a wonderful blending of styles that show Swift's growth as a pop star. While there's some country thrown in (including a cameo by The Dixie Chicks), she manages to throw in electronica and other pop styles that help creates a singular sound. She hearkens back to the past, quoting songs like Bananarama ("Cruel Summer") and even Grease ("you're the one that I want"). Sure, cribbing lines from other songs may come across as lazy, but it helps to expand her worldview and explain her nostalgia. She repurposes these lyrics in a way that show her love for them while giving them new life.
There's a lot to love about "Lover." For starters, it's an album that finds one of the decade's most nitpicked musician doing the most unexpected thing imaginable: moving on. She doesn't abandon what made her appealing but instead focuses her love of the past in new directions. She doesn't seek revenge and create catty attacks on her peers. Instead, she's cleansing her soul of those mistakes, finding a reason to age with grace. This is the perfect way to acknowledge the faults of a rocky decade while bringing hope to audiences needing to know that love can be brutal but still have a deeper resonance, even those relationships long over. They help define us and shape our outlook on life. It's our job to not fester in them.
Overall Rating: 4 out of 5
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