They say lightning never strikes in the same place twice. They also said that Taylor Swift’s career had likely met its peak during the 2017 release of reputation. Unsurprisingly, the singer-songwriter continues to prove skeptics wrong in disrupting the conversation surrounding her music and personal life. This deep into her career, Taylor Swift still subverts expectation.
Merely 5 months after her career capping masterpiece folklore immersed listeners in a world independent of the bleak reality that is 2020, the singer announced yet another surprise full length LP. The record, evermore, is a direct continuation of folklore. The first of Swift’s albums to be serialized, the release is the singer’s closest attempt to The Beatles’ White Album. Does it succeed? Astonishingly. evermore doubles down on the strengths of folklore, decidedly adding a contemporary edge not necessarily as overtly present on the preceding instant classic.
The storytelling that sewed together the tapestry of folklore continues on evermore. There are tales of Hollywood’s Dorothea (“’tis the damn season,” “dorothea”), aching glimpses into heartbreak at all stages of life (“happiness,” “tolerate it”) and joyous expressions of love (“willow,” “cowboy like me”). Ever-present on evermore is Swift’s now expected ability to instantly compel listeners. Each subsequent track feels novel and lived in simultaneously. What’s so impressive about the more uptempo folklore sibling is this immediately timeless sound.
Excluding perhaps on its predecessor, Swift has never sounded this authentically self assured. There’s a reason evermore is displayed in color. It’s brighter, more animated than the pensive, delicately delivered folklore. The autumnal album sees Swift lean more heavily into her past pop-rock influences.
Most notably applying this style is “long story short,” a quietly revelatory account of the last few years of the singer’s personal life. Fans of this poppy style seen many times over throughout Swift’s past work can also find pleasure in this and many of the tracks on evermore. “long story short” will likely become the latest TikTok trend seeing content creators throwing it back and twerking their way through the woodlands. Swift’s uninhibited vocals reflect back on her spirit that encompassed her seventh record, Lover. Sharper and more focused, the singer has mastered what she set out to in folklore, wiping off the tattooed media press informing her image and owning her narrative with a well veiled allegory.
Swift also takes the fictional storytelling of folklore to exciting new places with collaborators old and new. On “no body, no crime,” she uses her real life friendship with Este and the rest of the Haim sisters as an entry point for a crime thriller reminiscent of The Chicks’ “Goodbye Earl.” The country-folk banger showcases a playful Swift. Listeners will practically hear her smirks throughout the song’s vocal.
Other collaborations are just as fresh, with Swift uniting with the remainder of The National members on the quietly devastating “coney island.” A relative to folklore‘s “exile,” it successfully incorporates the band’s signature style to bring together a rich group dynamic. One of the album’s most pleasant surprises is the mystery collaborator on “cowboy like me,” a chess match turned authentic love affair. Now confirmed by Swift as the one and only Marcus Mumford, the two act as con artists fooling themselves into a relationship.
Individually, Swift continues to manifest what has given her the boundless platform she has today in “marjorie.” There’s perhaps no better track to encapsulate Swift’s mastery of songwriting. It’s here where Swift ruminates on her relationship with her grandmother and her later learnings of Marjorie’s life through familial inquiries. It’s a one-of-a-kind, universal observation of loss. The song details what it means to realize one’s naivety in approaching their relatives early in life. That epiphany cuts short what could’ve been a powerful relationship that informs that person’s life. At the song’s center is Swift’s staggering delivery of every last shred of her emotion.
Mirroring the more alt/indie sensibilities is deep cut “closure.” The song will almost definitely be overlooked by the majority of listeners, but it’s an endlessly interesting blend of the album’s overall sound and jarring electronica.
The album closes with the flawless “evermore.” Surpassing “exile” as the superior Swift/Vernon collaboration, the climactic finale once again pits two artists vocals against one another. Bon Iver swoops in to bring the tempo up before slowing it back down for Swift to deliver the final blows. It encapsulates the melancholic atmosphere Swift, Dessner & Antonoff have orchestrated in her music this year.
evermore is nothing short of epic. It elongates a magnum opus to provide the world with what many would consider a double album. It adds enough singularity, individual depth, and fresh sound to enrich the already scrupulous development of the world of folklore.
“The road not taken looks real good now,” Swift croons with a tongue in cheek grin on “’tis the damn season.” This knowing nod to her releasing evermore when not even her most devoted fans had anticipated it, Swift proves this.