Here, Swift has found an ex truly worth writing about: the naive spirit of national optimism. “I Think He Knows,” meanwhile, is a delicious slice of Prince lite — at least, that’s where the sound of her falsetto against a low bass and a marching beat takes some of us — with a cockiness worthy of the man himself: “He’s so obsessed with me, and boy, I understand!” There’s another moment of self-consciousness when she adds as a moony-eyed aside, “It’s like I’m 17, no one understands” — underscoring that, in these giddiest moments, at least, she almost sounds more like a teenager than she did in her teardrops-spilling-on-guitar days.
On an album this long, there is equal room for good and bad, and you’re always equidistant from either one no matter what track you’ve reached. Lover, in contrast, is a bit messier, almost defiantly so. The absence of longtime producer stalwarts Max Martin and Shellback from this album’s credits was a cause for concern. Her epic seventh album is all about big moods, dreamy Eighties throwbacks and evolutionary freedom. “Cornelia Street” really gets specific — it’s where the New York apartment was where she and her beloved shared their first “sacred” memories, and also a tentative moment or two, as she movingly describes packing her bags and being headed toward one of the tunnels out of Manhattan before a phone call turned her around. The playfulness takes a romantic turn in the two most light-spirited and irresistible bangers.

“London Boy” is relentlessly upbeat, but the next mood swing will knock you sideways: It’s “Soon You’ll Get Better,” a heartrending ballad about Swift’s mother’s ongoing cancer battle, with background harmonies by the Dixie Chicks.
The maturation through Taylor Swift’s career has also shown her react to personal change in real time. It's not even a contradiction to say that "Lover" is Swift's most mature album and her most fun one, all at once. These medical and political malignancies make only cameo appearances on an otherwise exuberant album, but invoking them does bring into sharper relief why we maybe need lovers now more than ever, and why ballads like “Afterglow” and “Daylight” have her trying to figure out — in public — how to use love as a scalpel, not a bludgeon. She’s unburdened by love, and that explosive happiness makes itself present across this record. Her songwriting is as careful, detailed and impressive as ever, she's nestled into a perfect pop niche, and it seems like being totally in love has let her head drift off into the clouds a bit. Maturity for Taylor Swift means shrugging off what isn’t worth a fight, looking inward rather than blaming others, and being able to admit when you were wrong. For two and a half minutes, Swift regresses past all the drama and heartache she’s cataloged since her teen years to curl up in a weird little pocket of beauty. It's a very pop album, with a lot of mellow songs that would fit in the 1980s. Leo takes a proverbial volleyball to the face on “The Man,” a usefully blunt indictment of double standards, and the dub-inflected “London Boy” counts all the ways she “fancies” her boyfriend Joe Alwyn. Swift is an amazing songwriter, the lyrics are so good. The theme of Taylor Swift’s Lover is right there in the title. Taylor Swift sings "If I was a man, I'd be The Man" on a song that arrives just as Lover, her seventh studio album, starts to get underway.

It’s like the end of 2001: A Space Odyssey, where a long turbulent journey through outer (and, naturally, inner) space culminates in the sudden appearance of a planet-sized fetus. But it also feels like a record she made for herself, unburdened by external expectations and her own past. I love the album. All this publication's reviews; Read full review; Variety. It oozes with Swift’s much more palatable upbeat sass. Generally favorable reviews Swift adjusts her frame of reference as needed. Same lyrics, chords nothing special about it. She samples Idris Elba joking about taking James Corden on a scooter ride, apropos of nothing except that he says “London.” I can only imagine what it sounds like to a Brit. Taylor Swift sings "If I was a man, I'd be The Man" on a song that arrives just as Lover, her seventh studio album, starts to get underway.It's not bragging if it's true.


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