1989 is a tall, proud city built on rocks stronger than oceans, wind-swept, God-blessed, and teeming with people of all kinds living in harmony and peace; a city with free ports that hummed with commerce and creativity.
No longer writing love stories that naively set out to rival Romeo and Juliet, the Swift on 1989 is very aware of the transience and the fun of everything she’s writing about – but she’s also aware that that doesn’t mean it can’t sound larger than life.
Swift’s self-empowerment is so irrepressible that you can actually hear her kiss off the haters with the help of a brass backing section.
Her metropolitan butterflies aside, Swift’s songwriting is as consistently razor-sharp as it’s ever been.
By twisting free of the final touches of genre constraint clinging onto Red’s moments of twang, Swift sends her nearly unparalleled gift for melody soaring into the stratosphere.