Taylor Swift - 'Folklore' - 9/10

The old saying goes that a leopard can’t change its spots. No one seems to have told this to Taylor Swift and, if they have, she’s ignored them because this is an artist that isn’t afraid to change musical styles to suit her changing ambitions.

The country pop star of her early records, became the self-assured mainstream chart topper with 2012’s ‘Red’ and 2014’s ‘1989’, before morphing into an all-out pop megastar. She has perfected the angst ridden pangs of country pop, written huge chart smashing anthems, and collaborated with some of the biggest names in music. So what on earth next for an artist like Taylor Swift?

Not many would have suspected that her next step would be to release a surprise album. Even fewer would have predicted a collection of songs inspired by melancholic and reflective indie. That is just, however, what ‘Folklore’ is.

The new album (created in its entirety during lock down) was written and produced by Swift in close collaboration with Aaron Dressner (guitarist for darlings of the independent music scene, the National) and her previous producer Jack Antonoff. It even features a co-write and duet with Bon Iver.

The cynics out there will see this as a shrewd move from a clever pop chameleon. This type of collaboration inevitably lends credibility to new music from a mainstream artist, whilst also attracting an audience of new and intrigued listeners.

Although the collaboration is unquestionably shrewd, its roots and ambitions feel totally genuine. All of Swift’s collaborators have been nothing but complimentary about working with her, and this record has the feel of a well-established superstar bravely stepping out of her comfort zone and trying something new. Her collaborators are famed for their melancholic and contemplative song writing and, fittingly, 'Folklore' is wrapped in a theme of reflective heartache from its outset. Swift, well known for songs directing observations at lovers and friends, is this time turning the looking glass on herself.

Opener ‘The 1’ steadily builds from understated verses into a chorus that will have you singing along behind your steering wheel. It finds her nostalgically daydreaming about what life would have been like if she had ended up with an old partner. Lyrically it is one of the best songs on the record and finds Swift lament “we were something don’t you think so, roaring twenties tossing pennies in the pool, and it would have been fun if you had been the one”.

The album contains several more reflective ballads and each is enjoyable for their own strengths. ‘Seven’ finds her rely on little other than an acoustic guitar and a piano to deliver a vocal so beautiful it makes your heart skip. ‘Invisible String’ is a marriage of her lovelorn lilt with a stunningly understated finger picked guitar, and ‘This is me Trying’ has all the essential ingredients of a song by the National with its haunting and heavy echo. Inspiration never veers towards pastiche though, and indeed the song suits Swift's vocal delivery to a tee.

Teaming up with Bon Iver on the beautiful ‘Exile’ was an inspired choice. Bon Iver’s lyrics are famed for their obliqueness and it is refreshing to hear the singer’s words feeling so direct on a track that could have belonged to either one of them. His presence is also felt elsewhere on the droning reverb soaked instrumental accompaniments to both ‘Mad Woman’ and ‘Peace’.

That’s not to say it’s all about steady reflection. The pop sensibilities of lead single ‘Cardigan’ may not make a huge impact on the first listen, but repeat exposure reveals deeply imaginative lyrics about the supposed naivety of youth, a clever instrumental build, and a sense of passion far deeper than its slightly woolly (pun fully intended) metaphorical association with the maligned article of clothing. “But I knew you’d linger like a tattoo kiss, I knew you’d haunt all of my what ifs, the smell of smoke would hang around this long, cause I knew everything when I was young” she sings wearily.

‘The Last Great American Dynasty’ meanwhile, is a rip roaring commentary on American class divides and the demise of old wealth, whilst ‘August’ is a feel good number that owes a musical debt to the acoustic spring of Natalie Imbruglia’s ‘Torn’ and the vocal charge of Alanis Morrissette. Perhaps most enjoyable though, is ‘Betty’, a paean to teenage angst and betrayal so catchy it will stay swirling round your ears long after its conclusion. Despite its Piano Man inspired melody and harmonica solo, this is a song that belongs totally to Swift, and is a nice nod to her country roots whilst also clearly displays her developing song writing craft.

So where do things fall short? Well one easy criticism is the album's length. The collection clocks in at little over an hour and, on first listen, feels a little dragged out. It is, however, a collection that rewards perseverance with new little gems discovered on each play. Whether it’s the Imogen Heap inspired vocal on ‘Mirrorball’, or the stinging lyrical reproach of ‘My Tears Ricochet’, this is an album that will keep giving to those who play it on repeat.

Swift deserves the inevitable accolades that this record is bound to receive. This is the product of an artist who has been inspired to bravery by the confines imposed by the COVID-19 pandemic. Her choice of collaborators has clearly given her new inspiration and ambition, and the fruits of their labour is greatly enjoyable. Whilst the touches of her producers and co-writers are clearly felt, the album's identity belongs totally to Swift and is no departure from the components that have made her such a global superstar – well written and catchy songs, strong and melodic vocals and a willingness to try new sounds.

This is an album that will be enjoyed by Swift’s existing fans and newcomers drawn by curiosity in equal measure. ‘Folklore’ will not just go down as one of Swift’s finest moments, but as one of the finest albums this year will have to offer.