![]() But on “All Too Well (10-Minute Version),” she’s still in the middle of the hurt and sounds pissed off. “All Too Well” is cathartic and dramatic, like Swift is past the worst of the pain. But it evokes a different mood than the original. “All Too Well” is Swift’s best song, so what else could number one be? I already spent hundreds of words describing the power this anthem has over people, and “All Too Well (10-Minute Version)” is nearly as perfect as “All Too Well.” This thing is still a masterpiece, she did not tear it all up. “And you were tossing me the car keys, ‘fuck the patriarchy’ / Key chain on the ground, we were always skipping town.” Gasp. It happened during the second verse, which begins familiarly enough with Swift recounting how a certain Oscar-nominated actor’s mom told her stories about when he was on the tee ball team - and then came the swerve. The first time I listened to “All Too Well (10-Minute Version),” I gasped. Perfectly Fine” proved that her “From The Vault” songs weren’t left off the original albums because they weren’t good enough they are more than perfectly fine. Perfectly Fine / How’s your heart after breaking mine?” The way she sings “the best seat, in the best room” with a scoff gets me every time. It’s one of her best songs from any era, with an intoxicating hook and unforgettable kiss-off chorus: “Hello, Mr. It was casually cruel of Taylor to not include “Mr. That’s a lot of albums to tour for at once! Will we ever hear “The Story Of Us” live again? There’s going to be a lot of tough cuts (I’m already bracing myself for the disappointment of not hearing “Cornelia Street”), but one song that better make the final setlist is “Mr. Since then, she’s released five albums: the rainbow-colored pop of Lover the lost-in-the-woods folk of Folklore and Evermore and re-recordings of Fearless and Red. The last time she hit the road, it was three years ago for Reputation. One thing that I think about a lot - inarguably too much - is the setlist for Swift’s next tour. She happily trades verses with Bridgers, one of her “favorite artists in the world.” But it hits differently in 2021: Swift no longer fears sharing the spotlight. Swift wrote “Nothing New” in 2012 as an anxious critique of a culture that quickly moves on from female “ingénue” to another. “How long will it be cute / All this crying in my room / Whеn you can’t blame it on my youth / And roll your eyes with affеction?” has a haunting specificity that would fit at home on Bridgers’ remarkable debut album, Stranger In The Alps.īut the song it most closely resembles in terms of subject matter is Red standout “The Lucky One,” which tells the story of a singer who chose “the rose garden over Madison Square” and “got the hell out,” and Swift understanding her decision once she reached the same level of fame. But it is surprising how it sounds like a Phoebe Bridgers song with Taylor Swift, rather than a Taylor Swift song with Phoebe Bridgers. It’s no shock that “Nothing New” is devastatingly lovely.
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