Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album | GRAMMY.com (2024)

Table of Contents
It's Much More Than A Break-Up Record She's Grappling With Fame & Owning Her Choices Taylor Swift Gets By With A Little Help From Her Friends TTPS Is All Quill And Fountain Pen Songs This Is The End Of An Era (Or A Chapter) All Things Taylor Swift Los Lonely Boys — 'Resurrection' (Aug. 2) Khalid — 'Sincere' (Aug. 2) Orville Peck — 'Stampede' (Aug. 2) Beabadoobee — 'This Is How Tomorrow Moves' (Aug. 9) Post Malone — 'F-1 Trillion' (Aug. 16) Tinashe — 'Quantum Baby' (Aug. 16) Sabrina Carpenter — 'Short n’ Sweet' (Aug. 23) Lainey Wilson — 'Whirlwind' (Aug. 23) Steve Cropper — 'Friendlytown' (Aug. 23) Sofi Tukker — 'BREAD' (Aug. 23) Fontaines D.C. — 'Romance' (Aug. 23) Zedd — 'TELOS' (Aug. 30) A$AP Rocky — 'Don’t Be Dumb' (Aug. 30) Latest News & Exclusive Videos OneRepublic — "Apologize," 'Dreaming Out Loud' (2007) Beyoncé — "Halo," 'I Am…Sacha Fierce' (2008) OneRepublic — "Good Life," 'Waking Up' (2009) Adele — "Rumour Has It," '21' (2011) OneRepublic — "Counting Stars," 'Native' (2013) Taylor Swift — "Welcome to New York," '1989' (2014) Jonas Brothers — "Sucker," 'Happiness Begins' (2019) OneRepublic — "I Ain't Worried," 'Top Gun: Maverick' Soundtrack (2022) Tate McRae — "Greedy," 'THINK LATER' (2023) OneRepublic — "Last Holiday," 'Artificial Paradise' (2024) Latest News & Exclusive Videos Ice Spice — "Phat Butt" Ariana Grande, Brandy, & Monica — "the boy is mine (remix)" Post Malone & Blake Shelton — "Pour Me a Drink" Coldplay — "feelslikeimfallinginlove" Kygo — 'Kygo' Maren Morris & Julia Michaels — "cut!" Gracie Abrams — 'The Secret of Us' 6LACK — "F**k The Rap Game" The Joy — 'The Joy' Surfaces — 'good morning' Lauren Watkins — 'The Heartbroken Record' Beginner "Summertime Sadness," Born to Die (2012) "Young and Beautiful," The Great Gatsby: Music from Baz Luhrmann's Film (2013) "Mariners Apartment Complex," Norman F—ing Rockwell! (2019) "Brooklyn Baby," Ultraviolence (2014) "Love," Lust for Life (2017) "Chemtrails over the Country Club," Chemtrails over the Country Club (2021) Expert "F—ed My Way Up To the Top," Ultraviolence (2014) "Art Deco," Honeymoon (2015) "Fingertips," Did you know that there's a tunnel under Ocean Blvd (2023) Diehard "Yayo," Paradise (2012) "Season of the Witch," Non-album Single (2019) "Say Yes to Heaven," Non-album Single (2023) FAQs

Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album | GRAMMY.com (1)

Taylor Swift performs during her Eras Tour

Photo: Don Arnold/TAS24/Getty Images for TAS Rights Management

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"There is nothing to avenge, no scores to settle once wounds have healed," Taylor Swift wrote of her new album. From grapplings with fame to ultra-personal reflections on love lost, her latest set of fountain and quill pen songs marks the end of an era.

Kelsey Barnes

|GRAMMYs/Apr 19, 2024 - 05:38 pm

"All’s fair in love and poetry," Taylor Swift declared when she announced her 11th studio album, The Tortured Poets Department, at the 66th GRAMMY Awards.

Taken from the proverb "All’s fair in love and war," the pop phenom gave us a fair warning: there’s no limit to what she’ll go through to achieve her ends.

On the freshly released The Tortured Poets Department, Taylor Swift has a few things to get off her chest — so much that it required a surprise second record, The Tortured Poets Department: The Anthology, adding an additional 15 songs. The sprawling album is a masterclass in songwriting and so personal that it's analogous to performing a post mortem autopsy; The musical shapeshifter is here to exhume the tortured poets of her past and make peace with them.

In an Instagram post, Swift called the record an anthology that reflects "events, opinions and sentiments from a fleeting and fatalistic moment in time - one that was both sensational and sorrowful in equal measure." With the release of Tortured Poets, "there is nothing to avenge, no scores to settle once wounds have healed…our tears become holy in the form of ink on a page."

Describing Swift’s work as a collection of tracks about boys and break-ups has always felt underbaked and disingenuous, but much of The Tortured Poets Department is just that. In true Swiftian fashion, she plays on preconceived theories, opting to toy with the five stages of grief — denial, anger, bargaining, depression, and acceptance — after a break-up, bringing listeners along on a peregrination exploring the depths of her relationships and personal growth.

Analyzing her feelings to craft songs is muscle memory at this point, but with every release Taylor Swift somehow does so with a refreshed and reimagined perspective. The stories she shares with her fans in TTPD might’ve made her feel like she died, but she’s a revenant no longer tortured by the whims and words of other poets.

With The Tortured Poets Department open for business, read on for five key points to consider when listening to Taylor Swift’s new album.

It's Much More Than A Break-Up Record

Although the record orbits around a break-up, The Tortured Poets Department demonstrates Swift's ability to shapeshift as a songwriter. A song about a break-up is layered, typically forcing Swift to unveil her own flaws while wearing her broken heart on her sleeve.

The fifth track on a Taylor Swift album is typically the most emotionally cutting, and "So Long London" is no exception. On the standout track, Swift views the loss of her lover and the breakdown of her relationship to Joe Alwyn through the lens of the city they once shared together. It’s a cathartic release for Swift who point-blank notes the pain they inflicted upon her and how, in turn, they ended up just as heartbroken as she is.

The high-spirited "Down Bad" and subdued "The Smallest Man in The World" are two sides of the same coin. The former is hopeful that a love could be reignited, whereas the latter sees Swift at her grittiest, pointing the finger at her former lover. "Smallest" poses a series of questions, accusing her ex of being a spy who only wanted to get intel on her.

On piano ode "loml," Swift looks back at the "get-love-quick" schemes she first wrote about in "Why She Disappeared," a poem for reputation. The poem originally considered the death of her reputation and how its aftermath made her stronger while she was simultaneously nursing a new relationship.

The track has a similar energy to fan favorite "All Too Well," but is even more accusatory — seemingly unlocking another level of her songwriting prowess as she teeters between seething rage and mourning with lines about picking through a "braid of lies" spewed by a partner who "claimed he was a lion" but is really a coward. While Swift is honest about never feeling a loss so deeply, she maturely accepts that the effort she put into keeping the relationship afloat was all she could do. It’s distinctly different from the battles she bravely fought in "The Great War," "Daylight" and "long story short."

She's Grappling With Fame & Owning Her Choices

That Taylor Swift struggles with her own celebrity and the public's perception is nothing new. On reputation’s album prologue, she stated, "We think we know someone, but the truth is that we only know the version of them they have chosen to show us."

On The Tortured Poets Department, Swift has never been more honest about her feelings towards those who claim to know better than she does. On "But Daddy I Love Him," she doubles down on these frustrations, taking aim at self-righteous "vipers" and "judgmental creeps" who condemn her choice of a lover. Swift holds nothing back, declaring "I'll tell you something about my good name/It's mine alone to disgrace."

Swift stated that her life sometimes feels like a public autopsy with people psychoanalyzing her every thought and feeling. Following the release of Midnights and her larger-than-life Eras Tour, Swift’s been in her "glittering prime" despite experiencing her long-term relationship ending and the media hysteria around it would make anyone feel the opposite. "I Can Do It With A Broken Heart" confirms fans' theories that the GRAMMY winner was indeed putting on a brave face.

On "Clara Bow" — a song named for the silent film actress whose public life was so scrutinized that she admitted herself into a sanatorium — Swift sings "Beauty is a beast that roars/Down on all fours/Demanding, 'More.'" Again, Swift plays with the double-edged sword of fame, comparing herself to a performing circus animal — something she sings about in "Who’s Afraid Of Little Old Me?"

Taylor Swift Gets By With A Little Help From Her Friends

Swift has always looked up to and honored the greats in her music and art, and Tortured Poets is no exception. She recruits rock icon and songwriter Stevie Nicks to help build TTPD’s world, and Nicks penned a poem featured in Swift’s physical album. Written in Texas, the poem is "For T and me..." and tells the tale of two ill-fated lovers. (Swift also namedrops Nicks in "Clara Bow," touching on the comparisons made between Clara, Nicks and herself.)

There are two additional guest appearances on TTPD: Post Malone appears on "Fortnight" and Florence Welch of Florence + the Machine is featured on "Florida!!!" (a surprisingly toned-down lead single). Swift particularly shines when paired with Welch, and the soaring "Florida!!!" sees their intertwined vocals creating a sound as infectious as the "drug" they sing about.

J.M. Barrie’s Peter Pan inspired Swift on "cardigan" ("Tried to change the ending/Peter losing Wendy") but now the Lost Boy gets his own track on The Anthology’s "Peter." The ever-inquisitive Swift pleads, "You said you were gonna grow up/Then you were gonna come find me" and confronts this man who wouldn’t grow up. She even puts herself in the shoes of Wendy who waited for Peter Pan to return but has grown tired of waiting.

TTPS Is All Quill And Fountain Pen Songs

A few years ago, Taylor Swift categorized her songwriting according to three writing devices: glitter gel pens for fun tracks, fountain pens for songs using modern imagery and lyrics, and quill pens for tracks with flowery, figurative language. Although devoid of the glittery gel pen songs that comprise many of Swift's hits, TTPD and its accompanying anthology are steeped in fountain and quill writing.

Most of The Tortured Poets Department are fountain pen tracks — thanks to 2024 Producer Of The Year Jack Antonoff’s sleek pop production and synth use. Tracks like "Fresh Out The Slammer" and "My Boy Only Breaks His Favorite Toys" are sharp, snappy, tongue-in-cheek tales of love affairs about to begin and coming to an end with the same sonic exuberance of past Swift & Antonoff songs, like "Out of the Woods" and "Getaway Car."

Tracks on The Anthology, mostly produced by Aaron Dessner, are stripped-back, folk-tinged quill songs brimming with sorrow and harrowing thematics and dives even deeper into her chaotic psyche. "The Prophecy" sees Swift beg to change a prophecy that has been laid out ahead of her — likely stemming from the pressure of being a global superstar when all she wants is to be loved.

This Is The End Of An Era (Or A Chapter)

To her occasional disdain, Swift's highly personal songwriting has created a global obsession with her inner life. Although she's tired of the "public autopsy," Tortured Poets offers her time to reflect on the "events, opinions, and sentiments" over a time that was equal parts transient and transformative.

From her growth from the country-twanged teen singer on her self-titled debut to woman who is fearless in her pursuit of happiness, love, and peace, Swift has transformed time and time again. By viewing her work in eras — or, in this case, a chapter in a book of her life — it’s clear that Swift sees this current chapter of her life coming to a close, turning the last page and no longer longing to look back.

One could argue that Swift is an unreliable narrator, only ever presenting her side of the story. But she says that while considering the pain described on TTPS, many now-healed wounds turned out to be self-inflicted. With these stories immortalized, Taylor Swift has spoken her saddest story and is now "free of it." The tortured poets and poems will no longer take up space in this next chapter of her life.

Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

All Things Taylor Swift

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Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album | GRAMMY.com (19)

(Clockwise from left) Los Lonely Boys, Post Malone, Sabrina Carpenter, Lainey Wilson, beabadoobee, Tinashe

Photos:Matt Lankes; Douglas Mason/WireImage; Astrida Valigorsky/Getty Images; Ralph Bavaro/NBC via Getty Images; Joseph Okpako/WireImage; Emma McIntyre/Getty Images for Coachella

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August is aflame with hot releases across genres. From Lainey Wilson's country 'Whirlwind' and dance duo Sofi Tukker's ecstatic 'BREAD' to Tinashe's highly anticipated 'Quantum Baby,' your summer playlist will be lit.

Tássia Assis

|GRAMMYs/Aug 1, 2024 - 01:37 pm

August 2024 comes with five Fridays and five weeks of piping hot new music releases. And if July was busy, the upcoming month puts it to task with a sundry of albums for every genre, generation, and gusto.

Kicking off August, R&B star Khalid releases Sincere, while masked country singer Orville Peck will release his first duets album, Stampede. The following week, Aug. 9 heralds the third LP from Filipino British singer beabadoobee, This Is How Tomorrow Moves.

By mid-August, new releases from Foster The People, Nikka Costa, Post Malone and Tinashe will drop, as well as the debut of KATSEYE — a multinational girl group formed by K-pop label HYBE in partnership with Geffen Records. A week later, all eyes and ears will turn to Sabrina Carpenter’s Short n’ Sweet, Lainey Wilson’s Whirlwind, Thomas Rhett’s About A Woman, and Fontaines D.C.’s Romance.

Just before September arrives, Laurie Anderson will release her tribute to aviator Amelia Earhart, Amelia, and A$AP Rocky will make a long-awaited return with Don’t Be Dumb.

To fill up your upcoming weekends with fresh music, GRAMMY.com crafted a list with 13 remarkable new albums coming out August 2024.

After more than a decade away from the studios, Texican rock trio Los Lonely Boys are ready for their Resurrection. The 10-track LP was recorded at guitarist Henry Garza’s home studio in St. Angelo, Texas and in El Paso’s Sonic Ranch (Fiona Apple, Bon Iver).

On lead singles "Wish You Would" and "See Your Face," Los Lonely Boys prove that the wait was worth it, as they experiment with their signature sound for a deeper, more mature output. Resurrection aims to rekindle "the sonic fire that bonds the Los Lonely Boys brotherhood," while also paying respects to Texas legends like Stevie Ray Vaughan and Freddy Fender, per a press release.

"It’s something we think people need to hear — especially the youth," said bassist Jojo Garza. "When we’re young, we think we have it figured out. When you get older, you start to see things differently. Having kids of our own, we see their ambitions and ideas of what they want to be, so we want to be good parents. The message is, ‘Be careful what you wish for. There could be a false light, and we don’t want you to get hurt.’"

Los Lonely Boys are also celebrating the 20th anniversary of their self-titled debut, and the commemorations will be extended to a lengthy North American tour. Starting in August and running until November, the shows will also feature long time peers Los Lobos.

Khalid — 'Sincere' (Aug. 2)

Five years after the release of Free Spirit, R&B singer/songwriter Khalid is back with his third full length. Per a press release, Sincere is a "combination of my life experiences" that explores the pains and joys of growing up. Khalid noted that "it takes inspiration from conversations that I have had with my fans, supporters, and the people that love me."

"When I listen back to this project, I hear a sound that’s so unique and represents me at my best," he added. "This album is me at 26, continuing to evolve with the knowledge that I have garnered throughout the years." Previewed by singles "Please Don’t Fall In Love With Me," "Adore U," and "Ground (Cotton Candy Skies)," Sincere is a 16-track collection that, most of all, showcases Khalid’s maturing.

"This all feels like the biggest reset for me," he shared on Instagram. "I feel so reminiscent to how I did when I first started my career 8 years ago. I can’t wait for all of you to experience the album."

Orville Peck — 'Stampede' (Aug. 2)

Groundbreaking country singer Orville Peck is about to surprise his audience once again. Following 2022’s Bronco, Stampede — his first duet album, and third overall — spans 15 tracks with collaborations from Elton John, Willie Nelson, Beck, Kylie Minogue, Diplo, and more.

Back in May, Peck teased the project with EP Stampede Vol. 1, featuring songs with Noah Cyrus, Midland, and others. "This project has always been something I’ve fantasized about, so to see it finally come to fruition really is a dream come true," said the South African masked star in a press release.

Among a busy schedule, Peck also announced that his 6th annual Rodeo will happen on Aug. 23, 24 and 25 in Nashville. It will be headlined by himself and Tanya Tucker, and will feature sets from Medium Build, Reyna Roberts, and more. The Stampede North American tour is underway through October.

Learn more: How Queer Country Artists Are Creating Space For Inclusive Stories In The Genre

Beabadoobee — 'This Is How Tomorrow Moves' (Aug. 9)

Filipino-British singer beabadoobee — also known as Beatrice Laus — is so excited about her upcoming third studio album that she decided to bring its release one week forward. This Is How Tomorrow Moves is now coming out on Aug. 9, via Dirty Hit.

Fronted by singles "Take a Bite," "Coming Home," and "Ever Seen," the album was produced by Rick Rubin, and features "themes of self-acceptance and personal growth," per a press release. "I think I’m more aware of my actions in these songs," said Laus. "In my previous records, I would consistently sing about my reaction towards other people’s doings, like a blame game. But in this record, it’s accepting that there’s an inevitability of my fault in there too."

To crystallize those lessons, the alt-pop star is slated to perform at a one-off acoustic show in London, on Aug. 2. Then, she will play two intimate shows in London and Coventry, and a set at All Points East UK festival. In September, Laus will begin her North American tour, following with a string of November concerts in Europe.

Post Malone — 'F-1 Trillion' (Aug. 16)

Posty has been riding high on the country wave ever since May, when he released the top-charting single "I Had Some Help" with Morgan Wallen. Followed by "Pour Me a Drink" with Blake Shelton, and more recently by "Guy For That" with Luke Combs, his shift into the Nashville scene feels not only natural, but also rewarding.

All three pre-releases are part of Malone’s sixth studio album, F-1 Trillion. The singer also collaborated with Chris Stapleton and Hardy in tracks yet to be revealed, and featured production by Louis Bell, Charlie Handsome, and Hoskins. F-1 also marks the first time that the singer fully dives into country music, despite dabbling with the genre for years.

To celebrate this momentous phase, Malone will embark on a North American Tour starting September. In the company of backing band The Fools For You, he will hit cities like Boston, Atlanta, Virginia Beach, Charleston, and wrap up in Nashville in October.

Read more: Post Malone's Country Roots: 8 Key Moments In Covers and Collaborations

Tinashe — 'Quantum Baby' (Aug. 16)

"Quantum Baby is about getting to know me on a deeper level," said Tinashe in a press release about her upcoming album. "It’s about exploring who I am as a person and who I am as an artist. I’ve never been one to be put into a box, so the name ‘Quantum Baby’ encompasses all the different parts that make up who I am as a creative."

Spearheaded by April’s viral hit "Nasty," which serves as the album’s lead single, Quantum Baby is the second installment of a trilogy that began with 2023’s BB/ANG3L. "For BB/ANG3L, I was very inspired by the concept of identity. Exploring both how I self-identify and also challenging the perceptions of others," explained Tinashe. "I’ve enjoyed stripping back layers of aesthetic fluff, smoke and mirrors, and white noise to get down to the core of myself. Who we are at a core level, when we are alone — raw and unfiltered, is what I want this album to reflect."

Second single "Getting No Sleep" reflects that forthright perspective: "Feels Friday like, different night, same vibe / Take you outside, movie scene every time / Flick me up, I’m fitted up, so pretty, no bad side / Not a dog, but it’s in me, taking shots like I’m Lindsay," she sings.

Read more:

Sabrina Carpenter — 'Short n’ Sweet' (Aug. 23)

After heralding the summer of 2024 with double hits "Espresso" and "Please, Please, Please," Sabrina Carpenter will bring us Short n’ Sweet, a whole studio album to accompany its caffeinated appetizers.

Short n’ Sweet is Carpenter’s sixth LP so far, and features 12 tracks with major collaboration from top-charting producer Jack Antonoff. "This project is quite special to me and I hope it’ll be something special to you too," the singer shared on Instagram.

To seal 2024 as the year of Sabrina Carpenter, the pocket-sized star announced her first North American arena tour, starting September 23 in Columbus, Ohio and wrapping up on November 18 in Inglewood, California.

Learn more:

Lainey Wilson — 'Whirlwind' (Aug. 23)

"Writing and recording these 14 songs over the past couple of years has helped me stay grounded in ways you’d never believe," said Lainey Wilson on Instagram about her new LP, Whirlwind. "This album brought me back to my roots and made me feel at home during times when I couldn’t have been further away and my biggest hope is that it gives you that same sense of comfort that it has for me."

Following the 2022 GRAMMY-winning Bell Bottom Country, Wilson’s Whirlwind enlists producer Jay Joyce once again, but aims for a more organic sound by employing the singer’s touring band instead of studio musicians. Previously shared singles "Hang Tight Honey," "Country’s Cool Again," and "4x4xU" feature on the tracklist, as well as a collaboration with Miranda Lambert on "Good Horses."

Seizing the momentum, Wilson recently opened the Bell Bottoms Up bar in Nashville, and released a Hulu-exclusive documentary, Lainey Wilson: Bell Bottom Country. She is also amidst her North American tour, Country’s Cool Again.

Steve Cropper — 'Friendlytown' (Aug. 23)

Time may be tight, but is also just a number to legendary guitarist Steve Cropper. Best known as a member of Stax house band and as a guitarist for the Blues Brothers, he’s now 82 years old — but just getting started with his solo project, Steve Cropper & the Midnight Hour.

His 2021 solo debut album, Fire It Up, was nominated for a GRAMMY award in the Best Contemporary Blues Album category, and the upcoming Friendlytown aims to follow the same steps. "If your booty is not shaking in the first two bars of this album you’re already dead in a chair," said Cropper in a press statement. "I feel so good about this batch of songs. They’re packed with radio hooks, and we have Billy Gibbons, Brian May, and Tim Montana playing on the album — it’s like guitar heaven."

Single "Too Much Stress" with Brian May teases what’s to come in Friendlytown: 13 tracks of unbridled creativity and stirring melodies that bring back your faith in humanity. As Cropper said, "when I think about my legacy, I want it to be said that I was a nice guy."

Sofi Tukker — 'BREAD' (Aug. 23)

"Be really energetic and dance." That’s the acronym behind Sofi Tukker’s upcoming BREAD, but could also be their official slogan. The electronic duo formed by Sophie Hawley-Weld and Tucker Halpern bring joy and irreverence to their beats, mixing English with Portuguese, EDM with favela funk, fun with elegance. Now, they come forward with a brand new recipe for their third studio album.

"BREAD is pure energy," said Hawley-Weld in a press release. "Literally, carbs. That's exactly what we want our music to do. When you put on the album, we want it to give you energy." Halpern added, "We didn't know when we wrote the song ‘Bread’ that it was going to feel like a thesis statement for the album, and we didn't know that was going to be the name of the album initially, but as we were discussing, it became clearer and clearer that what we wanted to say to the world is: the world can be dark but it's also a really fun place."

To get a hint of the BREAD vibes, tune in to singles "Hey Homie," "Spiral," and the cheeky "Throw Some Ass." Then, catch Sofi Tukker live on their world tour starting September in Oceania, North America, and Europe.

Fontaines D.C. — 'Romance' (Aug. 23)

Following their acclaimed 2022 album Skinty Fia, Irish band Fontaines D.C. are gearing up to release their fourth LP, Romance. This is the post-punk ensemble’s first album under XL Recordings, and first album with producer James Ford, but it’s said to be their "most assured, inventive, and sonically adventurous" yet, according to a press release.

"We’ve always had this sense of idealism and romance," said guitarist Conor Deegan of the upcoming record. "Each album gets further away from observing that through the lens of Ireland, as directly as [debut album] Dogrel. The second album [A Hero’s Death] is about that detachment, and the third [Skinty Fia] is about Irishness dislocated in the diaspora. Now we look to where and what else there is to be romantic about."

Romance’s 11 tracks boast many inspirations — not all of them romantic per se. Frantic lead single "Starburster," for example, was inspired by a panic attack that vocalist Grian Chatten suffered at London’s St. Pancras station. Aside from that, other references include the dystopian anime Akira, singer Shygirl, Prodigy, Sega Bodega, and more.

Fontaines D.C. will kick off a world tour starting September in the U.S. and Canada, and then head on to Europe and the UK throughout December.

Zedd — 'TELOS' (Aug. 30)

This month also marks the return of German DJ and producer Zedd, who will release his first LP in nearly a decade, TELOS. Described in a press release as a "profound listening experience," the album was crafted in hopes to create deep bonds with the audience. "I wanted everyone to be able to feel a deeper emotional connection, like how I felt listening to my favorite albums when I was growing up. It was the details, transitions and cohesiveness that made me want to create a truly meaningful body of work," said Zedd.

Lead single "Out Of Time" has been in the works since 2015, and is still one of Zedd’s favorite compositions. "I made an intro for my live show based on this chord progression, but was never able to finish it," he said. "Bea [Miller] was the missing piece of the puzzle; her voice added an emotional depth that completed the song. "Out Of Time" really encapsulates the DNA of the Telos album, which is why I chose it to be the song that introduces this new era."

Fans will be able to check out how this new era sounds live starting September, as Zedd just announced his TELOS North American tour. Starting in Los Angeles, he will play 18 shows throughout 10 cities, including Seattle, San Francisco, and Dallas.

A$AP Rocky — 'Don’t Be Dumb' (Aug. 30)

One of 2024’s most awaited releases, A$AP Rocky’s fourth LP, Don’t Be Dumb, will finally drop at the end of the month. It’s been six years since the New Yorker put out his last full effort, Testing, and several changes happened in his life since — including becoming a father to two sons with his partner, Rihanna.

In a 2023 interview for Dazed, Lord Flacko affirmed that the album feels like his "best work yet," and that he wants to "leave expectations wide and open. I don’t want to tell you what to expect. I just want people to experience it how they do naturally."

Don’t Be Dumb has been teased for a long time, and Rocky previewed three unreleased songs off it at his Rolling Loud performance in July 2023. It is also preceded by singles "S—in’ Me," "Same Problems?," and Pharrell Williams-produced "RIOT (Rowdy Pipe’n)," although there’s no confirmation if they will end up on the final tracklist.

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Ryan Tedder

Photo: Jeremy Cowart

interview

As OneRepublic releases their latest album, the group's frontman and pop maverick gives an inside look into some of the biggest songs he's written — from how Beyoncé operates to Tom Cruise's prediction for their 'Top Gun' smash.

Taylor Weatherby

|GRAMMYs/Jul 15, 2024 - 03:46 pm

Three months after OneRepublic began promoting their sixth album, Artificial Paradise, in February 2022, the band unexpectedly had their biggest release in nearly a decade. The pop-rock band's carefree jam, "I Ain't Worried," soundtracked Top Gun: Maverick's most memeable scene and quickly became a global smash — ultimately delaying album plans in favor of promoting their latest hit.

Two years later, "I Ain't Worried" is one of 16 tracks on Artificial Paradise, which arrived July 12. It's a seamless blend of songs that will resonate with longtime and newer fans alike. From the layered production of "Hurt," to the feel-good vibes of "Serotonin," to the evocative lyrics of "Last Holiday," Artificial Paradise shows that OneRepublic's sound is as dialed-in as it is ever-evolving.

The album also marks the end of an era for OneRepublic, as it's the last in their contract with Interscope Records. But for the group's singer, Ryan Tedder, that means the future is even more exciting than it's been in their entire 15-year career.

"I've never been more motivated to write the best material of my life than this very moment," he asserts. "I'm taking it as a challenge. We've had a lot of fun, and a lot of uplifting records for the last seven or eight years, but I also want to tap back into some deeper material with the band."

As he's been prepping Artificial Paradise with his OneRepublic cohorts, Tedder has also been as busy as he's ever been working with other artists. His career as a songwriter/producer took off almost simultaneously with OneRepublic's 2007 breakthrough, "Apologize" (his first major behind-the-board hit was Leona Lewis' "Bleeding Love"); to this day he's one of the go-to guys for pop's biggest names, from BLACKPINK to Tate McRae.

Tedder sat down with GRAMMY.com to share some of his most prominent memories of OneRepublic's biggest songs, as well as some of the hits he's written with Beyoncé, Adele, Taylor Swift and more.

OneRepublic — "Apologize," 'Dreaming Out Loud' (2007)

I was producing and writing other songs for different artists on Epic and Atlantic — I was just cutting my teeth as a songwriter in L.A. This is like 2004. I was at my lowest mentally and financially. I was completely broke. Creditors chasing me, literally dodging the taxman and getting my car repoed, everything.

I had that song in my back pocket for four years. A buddy of mine just reminded me last month, a songwriter from Nashville — Ashley Gorley, actually. We had a session last month, me, him and Amy Allen, and he brought it up. He was like, "Is it true, the story about 'Apologize'? You were completely broke living in L.A. and Epic Records offered you like 100 grand or something just for the right to record the song on one of their artists?"

And that is true. It was, like, 20 [grand], then 50, then 100. And I was salivating. I was, like, I need this money so bad. And I give so many songs to other people, but with that song, I drew a line in the sand and said, "No one will sing this song but me. I will die with this song."

It was my story, and I just didn't want anyone else to sing it. It was really that simple. It was a song about my past relationships, it was deeply personal. And it was also the song that — I spent two years trying to figure out what my sound was gonna be. I was a solo artist… and I wasn't landing on anything compelling. Then I landed on "Apologize" and a couple of other songs, and I was like, These songs make me think of a band, not solo artist material. So it was the song that led me to the sound of OneRepublic, and it also led me to the idea that I should start a band and not be a solo artist.

We do it every night. I'll never not do it. I've never gotten sick of it once. Every night that we do it, whether I'm in Houston or Hong Kong, I look out at the crowd and look at the band, and I'm like, Wow. This is the song that got us here.

Beyoncé — "Halo," 'I Am…Sacha Fierce' (2008)

We were halfway through promoting Dreaming Out Loud, our first album. I played basketball every day on tour, and I snapped my Achilles. The tour got canceled. The doctor told me not to even write. And I had this one sliver of an afternoon where my wife had to run an errand. And because I'm sadistic and crazy, I texted [songwriter] Evan Bogart, "I got a three-hour window, race over here. Beyoncé called me and asked me to write her a song. I want to do it with you." He had just come off his huge Rihanna No. 1, and we had an Ashley Tisdale single together.

When you write enough songs, not every day do the clouds part and God looks down on you and goes, "Here." But that's what happened on that day. I turn on the keyboard, the first sound that I play is the opening sound of the song. Sounds like angels singing. And we wrote the song pretty quick, as I recall.

I didn't get a response [from Beyoncé after sending "Halo" over], which I've now learned is very, very typical of her. I did Miley Cyrus and Beyoncé "II MOST WANTED" [from COWBOY CARTER] — I didn't know that was coming out 'til five days before it came out. And when I did "XO" [from 2013's Beyoncé], I found out that "XO" was coming out 12 hours before it came out. That's how she operates.

OneRepublic — "Good Life," 'Waking Up' (2009)

["Good Life"] was kind of a Hail Mary. We already knew that "All the Right Moves" would be the first single [from Waking Up]. We knew that "Secrets" was the second single. And in the 11th hour, our engineer at the time — who I ended up signing as a songwriter, Noel Zancanella — had this drum loop that he had made, and he played it for Brent [Kutzle] in our band. Brent said, "You gotta hear this drum loop that Noel made. It's incredible."

He played it for me the next morning, and I was like, "Yo throw some chords to this. I'm writing to this today." They threw some chords down, and the first thing out of my mouth was, [sings] "Oh, this has gotta be the good life."

It's the perfect example of, oftentimes, the chord I've tried to strike with this band with some of our bigger records, [which] is happy sad. Where you feel nostalgic and kind of melancholic, but at the same time, euphoric. That's what those chords and that melody did for me.

I was like, "Hey guys, would it be weird if I made the hook a whistle?" And everyone was like, "No! Do not whistle!" They're like, "Name the last hit song that had a whistle." And the only one I could think of was, like, Scorpion from like, 1988. [Laughs.] So I thought, To hell with it, man, it's been long enough, who cares? Let's try it. And the whistle kind of made the record. It became such a signature thing.

Adele — "Rumour Has It," '21' (2011)

"Rumour Has It" was the first song I did in probably a four year period, with any artist, that wasn't a ballad. All any artist ever wanted me to write with them or for them, was ballads, because of "Halo," and "Apologize" and "Bleeding Love."

I begged [Adele] to do a [song with] tempo, because we did "Turning Tables," another ballad. She was in a feisty mood [that day], so I was like, "Okay, we're doing a tempo today!"

Rick Rubin was originally producing the whole album. I was determined to produce Adele, not just write — because I wanted a shot to show her that I could, and to show myself. I stayed later after she left, and I remember thinking, What can I do in this record in this song that could be so difficult to reproduce that it might land me the gig?

So I intentionally muted the click track, changed the tempo, and [created that] whole piano bridge. I was making it up as I went. When she got in that morning. I said, "I have a crazy idea for a bridge. It's a movie." She listens and she says, "This is really different, I like this! How do we write to this?"

I mean, it was very difficult. [But] we finished the song. She recorded the entire song that day. She recorded the whole song in one take. I've never seen anyone do that in my life — before or since.

Then I didn't hear from her for six months. Because I handed over the files, and Rick Rubin's doing it, so I don't need to check on it. I randomly check on the status of the song — and at this point, if you're a songwriter or producer, you're assuming that they're not keeping the songs. Her manager emails my manager, "Hey, good news — she's keeping both songs they did, and she wants Ryan to finish 'Rumour Has It' production and mix it."

When I finally asked her, months later — probably at the GRAMMYs — I said, "Why didn't [Rick] do it?" She said, "Oh he did. It's that damn bridge! Nobody could figure out what the hell you were doing…It was so problematic that we just gave up on it."

OneRepublic — "Counting Stars," 'Native' (2013)

I was in a Beyoncé camp in the Hamptons writing for the self-titled album. [There were] a bunch of people in the house — me, Greg Kurstin, Sia — it was a fun group of people. I had four days there, and every morning I'd get up an hour and a half before I had to leave, make a coffee, and start prepping for the day. On the third day, I got up, I'm in the basement of this house at like 7 in the morning, and I'm coming up with ideas. I stumble across that chord progression, the guitar and the melody. It was instant shivers up my spine.

"Lately I've been losing sleep, dreaming about the things that we could be" is the only line that I had. [My] first thought was, I should play this for Beyoncé, and then I'm listening to it and going, This is not Beyoncé, not even remotely. It'd be a waste. So I tabled it, and I texted the guys in my band, "Hey, I think I have a potentially really big record. I'm going to finish it when I get back to Denver."

I got back the next week, started recording it, did four or five versions of the chorus, bouncing all the versions off my wife, and then eventually landed it. And when I played it for the band, they were like, "This is our favorite song."

Taylor Swift — "Welcome to New York," '1989' (2014)

It was my second session with Taylor. The first one was [1989's] "I Know Places," and she sent me a voice memo. I was looking for a house in Venice [California], because we were spending so much time in L.A. So that whole memory is attached to me migrating back to Los Angeles.

But I knew what she was talking about, because I lived in New York, and I remember the feeling — endless possibilities, all the different people and races and sexes and loves. That was her New York chapter. She was so excited to be there. If you never lived there, and especially if you get there and you've got a little money in the pocket, it is so exhilarating.

It was me just kind of witnessing her brilliant, fast-paced, lyrical wizardry. [Co-producer] Max [Martin] and I had a conversation nine months later at the GRAMMYs, when we had literally just won for 1989. He kind of laughed, he pointed to all the other producers on the album, and he's like, "If she had, like, three more hours in the day, she would just figure out what we do and she would do it. And she wouldn't need any of us."

And I still think that's true. Some people are just forces of nature in and among themselves, and she's one of them. She just blew me away. She's the most talented top liner I've ever been in a room with, bar none. If you're talking lyric and melody, I've never been in a room with anyone faster, more adept, knows more what they want to say, focused, efficient, and just talented.

Jonas Brothers — "Sucker," 'Happiness Begins' (2019)

I had gone through a pretty dry spell mentally, emotionally. I had just burned it at both ends and tapped out, call it end of 2016. So, really, all of 2017 for me was a blur and a wash. I did a bunch of sessions in the first three months of the year, and then I just couldn't get a song out. I kept having, song after song, artists telling me it's the first single, [then] the song was not even on the album. I had never experienced that in my career.

I went six to nine months without finishing a song, which for me is unheard of. Andrew Watt kind of roped me back into working with him. We did "Easier" for 5 Seconds of Summer, and we did some Sam Smith and some Miley Cyrus, and right in that same window, I did this song "Sucker." Two [or] three months later, Wendy Goldstein from Republic [Records] heard the record, I had sent it to her. She'd said, very quietly, "We're relaunching the Jonas Brothers. They want you to be involved in a major way. Do you have anything?"

She calls me, she goes, "Ryan, do not play this for anybody else. This is their comeback single. It's a No. 1 record. Watch what we're gonna do." And she delivered.

OneRepublic — "I Ain't Worried," 'Top Gun: Maverick' Soundtrack (2022)

My memory is, being in lockdown in COVID, and just being like, Who knows when this is going to end, working out of my Airstream at my house. I had done a lot of songs for movies over the years, and [for] that particular [song] Randy Spendlove, who runs [music at] Paramount, called me.

I end up Zooming with Tom Cruise [and Top Gun: Maverick director] Jerry Bruckheimer — everybody's in lockdown during post-production. The overarching memory was, Holy cow, I'm doing the scene, I'm doing the song for Top Gun. I can't believe this is happening. But the only way I knew how to approach it, rather than to, like, overreact and s— the bed, was, It's just another day.

I do prescription songs for movies, TV, film all the time. I love a brief. It's so antithetical to most writers. I'm either uncontrollably lazy or the most productive person you've ever met. And the dividing line between the two is, if I'm chasing some directive, some motivation, some endpoint, then I can be wildly productive.

I just thought, I'm going to do the absolute best thing I can do for this scene and serve the film. OneRepublic being the performing artist was not on the menu in my mind. I just told them, "I think you need a cool indie band sounding, like, breakbeat." I used adjectives to describe what I heard when I saw the scene, and Tom got really ramped and excited.

You could argue [it's the biggest song] since the band started. The thing about it is, it's kind of become one of those every summer [hits]. And when it blew up, that's what Tom said. He said, "Mark my words, dude. You're gonna have a hit with this every summer for, like, the next 20 years or more."

And that's what happened. The moment Memorial Day happened, "I Ain't Worried" got defrosted and marched itself back into the top 100.

Tate McRae — "Greedy," 'THINK LATER' (2023)

We had "10:35" [with Tiësto] the previous year that had been, like, a No. 1 in the UK and across Europe and Australia. So we were coming off the back of that, and the one thing she was clear about was, "That is not the direction of what I want to do."

If my memory serves me correct, "greedy" was the next to last session we had. Everything we had done up to that point was kind of dark, midtempo, emotional. So "greedy" was the weirdo outlier. I kept pushing her to do a dance record. I was like, "Tate, there's a lot of people that have great voices, and there's a lot of people who can write, but none of those people are professional dancers like you are. Your secret weapon is the thing you're not using. In this game and this career, you've got to use every asset that you have and exploit it."

There was a lot of cajoling. On that day, we did it, and I thought it was badass, and loved it. And she was like, "Ugh, what do we just do? What is this?"

So then it was just, like, months, months and months of me constantly bringing that song back up, and playing it for her, and annoying the s— out of her. And she came around on it.

She has very specific taste. So much of the music with Tate, it really is her steering. I'll do what I think is like a finished version of a song, and then she will push everyone for weeks, if not months, to extract every ounce of everything out of them, to push the song harder, further, edgier — 19 versions of a song, until finally she goes, "Okay, this is the one." She's a perfectionist.

OneRepublic — "Last Holiday," 'Artificial Paradise' (2024)

I love [our latest single] "Hurt," but my favorite song on the album is called "Last Holiday." I probably started the beginning of that lyric, I'm not joking, seven, eight years ago. But I didn't finish it 'til this past year.

The verses are little maxims and words of advice that I've been given throughout the years. It's almost cynical in a way, the song. When I wrote the chorus, I was definitely in kind of a down place. So the opening line is, "So I don't believe in the stars anymore/ They never gave me what I wished for." And it's, obviously, a very not-so-slight reference to "Counting Stars." But it's also hopeful — "We've got some problems, okay, but this isn't our last holiday."

It's very simple sentiments. Press pause. Take some moments. Find God before it all ends. All these things with this big, soaring chorus. Musically and emotionally and sonically, that song — and "Hurt," for sure — but "Last Holiday" is extremely us-sounding.

The biggest enemy that we've had over the course of 18 years, I'll be the first to volunteer, is, this ever-evolving, undulating sound. No one's gonna accuse me of making these super complex concept albums, because that's just not how my brain's wired. I grew up listening to the radio. I didn't grow up hanging out in the Bowery in CBGBs listening to Nick Cave. So for us, the downside to that, and for me doing all these songs for all these other people, is the constant push and pull of "What is their sound? What genre is it?"

I couldn't put a pin in exactly what the sound is, but what I would say is, if you look at the last 18 years, a song like "Last Holiday" really encompasses, sonically, what this band is about. It's very moving, and emotional, and dynamic. It takes me to a place — that's the best way for me to put it. And hopefully the listener finds the same.

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Ice Spice

Photo: Matt Winkelmeyer

list

As we slip into summer, get the season started by listening to these new songs, albums and collaborations from Gracie Abrams, Kygo, The Joy and more that dropped on June 21.

Chloe Sarmiento

|GRAMMYs/Jun 21, 2024 - 05:52 pm

The first New Music Friday of the summer delivers us fresh jams packed with exciting collaborations and debuts.

This week features releases from big name, genre-crossing collaborations, including Ariana Grande's remix of "the boy is mine" with Brandy and Monica, and Post Malone teaming up with Blake Shelton on their new track "Pour Me a Drink." As you build your new summer playlist, make sure you don't miss out on these ten must-hear tunes.

Ice Spice — "Phat Butt"

After a massive year with the release of her EP Like..? and four nominations at the 2024 GRAMMYs, Ice Spice is ready to level up once again with her newest single, "Phat Butt." With self-assured lyricism on top of a classic drill beat that is true to her sound, the track serves as the second single to be released from her debut album, Y2K!. "Phat Butt" comes as both a message to those who lacked belief in Ice Spice’s music career, but also as a quintessential summer anthem.

In the self-directed music video, the rapper is shown performing in front of a wall of graffiti with grainy video filters, emphasizing the Y2K feel. Ice Spice is set to take on her Y2K World Tour next month and it's no doubt that this "Phat Butt" will be a highlight on her setlist.

Explore More: The Rise Of Ice Spice: How The "Barbie World" Rapper Turned Viral Moments Into A Full-On Franchise

Ariana Grande, Brandy, & Monica — "the boy is mine (remix)"

When asking different groups who sings the song "the boy is mine," you're likely to get two answers. Some will say pop star Ariana Grande, while others will think of the original 1998 R&B hit by Brandy and Monica, which won the GRAMMY for Best R&B Performance By A Duo Or Group With Vocal in 1999. Doubling down on the shared name of the track and bridging the generational gap among music lovers, Grande, Brandy, and Monica have come together for a fresh remix of "the boy is mine," and the internet couldn't be more ecstatic.

"My deepest and sincerest thank you to Brandy and Monica, not only for joining me for this moment, but for your generosity, your kindness, and for the countless ways in which you have inspired me," said Grande in an Instagram post announcing the collaboration. "This is in celebration of you both and the impact that you have had on every vocalist, vocal producer, musician, artist that is creating today."

Read More: 5 Takeaways From Ariana Grande's New Album Eternal Sunshine

Post Malone & Blake Shelton — "Pour Me a Drink"

Post Malone has been dipping his toes into the country genre for some time now and fans have been anxiously awaiting his promised western era post Cowboy Carter.

Malone and Shelton first ignited excitement with a sneak peek of their song, "Pour Me a Drink" at the CMA Fest earlier this month. Since Posty announced the official release on Instagram, fans have eagerly awaited its arrival on streaming services. The track serves as a tantalizing preview of Post Malone's upcoming country album, F-1 Trillion, coming August 16.

Read More: Post Malone's Country Roots: 8 Key Moments In Covers and Collaborations

Coldplay — "feelslikeimfallinginlove"

Coldplay has been generating excitement as they embark on their next chapter, with the release of their latest single, "feelslikeimfallinginlove." Over the past few weeks, they've been feeding fans with sneak peeks on social media and performing the song live on their world tour.

The track sets the stage for the release of Coldplay's highly anticipated tenth studio album, Moon Music, set to land in early October. True to their brand, this song is geared to uplift your spirits, making it the perfect anthem for carefree summer car rides with the windows down.

Read More: How Coldplay's Parachutes Ushered In A New Wave Of Mild-Mannered Guitar Bands

Kygo — 'Kygo'

Ten years into his career, Norwegian DJ Kygo is dropping his self-titled album, Kygo, which he teased last week with the single "Me Before You" featuring Plested. The song, backed by a thumping mid-tempo instrumental, vividly narrates the transformative experience of being deeply influenced by someone in a relationship and not wanting to return to who you were before. The 18-track project features diverse and vibrant collaborations with unexpected guests like the Jonas Brothers and Ava Max.

Maren Morris & Julia Michaels — "cut!"

Maren Morris and Julia Michaels, GRAMMY-winners both independently renowned for their iconic music collaborations, are now joining forces to release their electrifying new track, "cut!" The duo has been working together for a few years, with Michaels' co-writing Morris' "Circles Around Town," which received a nomination for Best Country Song at the 2023 GRAMMYs. So, while this collaboration might not come as a surprise, it is still certainly a welcomed one.

After a two-year hiatus from releasing music, pop enthusiasts have been eagerly anticipating Morris' return to the spotlight. "Can't wait to cathartically scream f*ck at the top of our lungs together," Morris said in an Instagram post announcing the track.

Learn More: Wish

Gracie Abrams — 'The Secret of Us'

Building on the success of her debut album, Good Riddance, and the skyrocketing momentum of her career after opening The Eras Tour, California-native Gracie Abrams has unveiled her much-anticipated sophomore album, The Secret of Us.

The album includes the track, "Close to You," which was released ahead of the album drop as the full realization of a 20-second snippet that Abrams posted on Instagram back in 2018. After sitting on the track for six years and relentless pleas from fans, the pop artist finally delivered the full song — a mesmerizing blend of Abrams’ vocal prowess and heartfelt lyricism.

Learn More: How Making Good Riddance Helped Gracie Abrams Surrender To Change And Lean Into The Present

6LACK — "F**k The Rap Game"

6LACK is rebranding himself and making sure everyone knows. The release of his newest track, "F**k The Rap Game" addresses the phenomenon of getting caught up in the glitz and glamor of the entertainment business, tying in the importance of staying true to one's roots. The Atlanta-raised artist is currently on tour with rapper Russ, with whom he recently released the single "Workin On Me,” another nod to 6LACK's ongoing mission of self-reflection and deep introspection.

“A better me equals a better you equals a better us. That’s been the formula of my life. I can’t thrive unless I’m around people who are constantly trying to better themselves as individuals,” 6LACK said in an interview with GRAMMY.com last year. “It took a second of me really looking at myself in the mirror, being honest and saying: I am not doing as much work on myself as I claim to be doing and want to be doing on myself.”

Read More: 6lack On His Comeback Album SIHAL: "I’m Playing A Different Game"

The Joy — 'The Joy'

Months after their buzzworthy performance with Doja Cat at Coachella, South African quintet The Joy has released their self-titled album through Transgressive Records. The album was recorded live, in real time, at Church Studios in London and features no instruments or overdubs — just pure, raw vocals that capture the group's authentic sound.

The Joy came together through a serendipitous twist of fate. Years back, five boys arrived early to their school choir practice and decided to have an impromptu jam session. Realizing their undeniable musical chemistry, The Joy was born, quickly garnering global acclaim. "They are, like, my favorite group," Jennifer Hudson exclaimed on her talk show.

Surfaces — 'good morning'

Known for their feel-good tunes that took over TikTok in 2019, Surfaces presents their sixth album, Good Morning. In tracks like, “Real Estate,” the band chronicles the idea of exploring one’s mind and thoughts, above all other features, backed by a tropical lo-fi instrumental, as well as a steady thump of a bass, and trilling trumpets.

“’Real Estate’ is about the infatuation with that place in someone’s mind that you can’t get enough of,” Surfaces explained in a press statement. “It’s a familiar place to call home that feels safe and deserves all the love in the world. We wanted to capture the bliss of finding that space and reveling in it.”

Lauren Watkins — 'The Heartbroken Record'

Lauren Watkins has a packed summer schedule, which includes opening for country artist Morgan Wallen and releasing her second studio album, The Heartbroken Record. This project draws inspiration from music industry veterans like Willie Nelson and Waylon Jennings, while also infusing influences from contemporary artists like Kacey Musgraves and Miranda Lambert. Each track from the album underscores stories of love and loss, woven together by the overarching theme of heartbreak.

"I didn't want to just put an album out — I wanted it to be purposeful," Watkins said in a press statement. "It's the past several years of my life, and that was just so much heartbreak and dramatic girl-feelings, but I think in a really deep and relatable way… and it just needs to get off my chest."

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Lana Del Rey performs at the 2024 Primavera Sound Festival in Barcelona.

Photo: Xavi Torrent/Redferns

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As Lana Del Rey's third album, 'Ultraviolence,' turns 10, build — or expand — your knowledge of the melancholy pop queen's catalog.

Gabriel Aikins

|GRAMMYs/Jun 13, 2024 - 03:12 pm

When it comes to exploring Lana Del Rey's discography, it can be hard to know where to start. The pop songstress has a sprawling catalog, consisting of nine albums, four EPs, and a handful of other standalone singles.

You could begin with Born To Die, her highly influential major label debut, or its moody follow-up, Ultraviolence, her first to top the Billboard charts and ultimately establish her staying power as an artist. Perhaps you choose to start with her Album Of The Year GRAMMY nominees Norman F—ing Rockwell! or Did you know that there's a tunnel under Ocean Blvd.

Or maybe you're an incredibly diehard fan with encyclopedic knowledge who wants to start where it all began, on Rey's first album Lana Del Ray (note the spelling difference), which never saw official physical release and contained just a rough draft of the cultural force Del Rey would become.

Following Del Rey's career is rewarding, but requires some commitment to listen to, and understand, everything she's put out. It can be intimidating to approach an artist with such a robust, varied catalog. You can go with more mainstream pop offerings like her collaborations with Taylor Swift and The Weeknd, or dive into something more inspired by the orchestra like early track "National Anthem." This is true for fans with any amount of exposure to Del Rey, from those just discovering her music to those looking to become an expert.

As Ultraviolence turns 10, GRAMMY.com presents the levels of Lana, a series of jumping off points to explore all the music Del Rey has to offer. Dig into three songs across four different levels of fandom — Beginner, Intermediate, Expert, and Diehard — to further your Lana knowledge. These songs give a peek into various aspects of Del Rey's body of work, and serve as encouragement to continue exploring.

Beginner

"Summertime Sadness," Born to Die (2012)

The Beginner Level of Lana is for those who have heard of Del Rey, but have never sat down with her music before. This makes "Summertime Sadness," her biggest song to date, the perfect place to start.

It's reductive to simply label Del Rey's oeuvre "sad girl music," but for the uninitiated, it's a simple descriptor to start with. "Summertime Sadness" combines the pop production, elements of classical music, and existential despair that is present throughout Del Rey's career. And Cedric Gervais' remix has turned "Summertime Sadness" into a club banger to help her appeal to those who gravitate more to the dance floor.

"Young and Beautiful," The Great Gatsby: Music from Baz Luhrmann's Film (2013)

It speaks to Del Rey's cultural reach and musical vision that a non-album single is one of her most iconic songs. Written for the 2013 The Great Gatsby movie adaptation, "Young and Beautiful" also serves as a helpful thematic introduction to Del Rey.

Throughout her writing, Del Rey examines youth, Americana, and the American Dream, and how each of these uniquely American ideals are full of decay and liable to corruption and disappointment. On "Young and Beautiful," she asks if her lover will still care when she's no longer either of those things, and the somber tone indicates the likely answer. This song will introduce fans to Del Rey's penchant for using orchestral backing for her music, and illustrate how intertwined with popular culture she really is.

"Mariners Apartment Complex," Norman F—ing Rockwell! (2019)

The past two songs have introduced Del Rey's "sad girl" persona, but over the years, she has evolved far past being so easily defined. "Mariners Apartment Complex" is the perfect next step for beginners, opening up the popular perception to her to reveal more of her complexity.

Lyrically, it finds Del Rey pushing back on sorrow being her only emotion. Musically, it's a great introduction to more of the ethereal, synth-filled sound that has come out of her partnership with superproducer Jack Antonoff. And in terms of placing her within the culture, "Mariners Apartment Complex" is the first single from her sixth album Norman F—ing Rockwell!, which earned Del Rey her first Album Of The Year nomination in 2019.

"Brooklyn Baby," Ultraviolence (2014)

At the Intermediate level, it's time to start getting into more of the nuances that Del Rey brings to her writing — and, in turn, how much she's influenced her peers, and how respected she is amongst them.

"Brooklyn Baby" is some of her sharpest writing, equal parts playful needling and affectionate tribute to the snooty New York art scene. One of the most indelible tracks off of Ultraviolence, the song epitomizes the entire record's move towards more rock instrumentation, with a guitar-based sound. It references legendary rock artist Lou Reed, who was slated to appear on the track before his death in late 2013, showing just how highly she's thought of by other artists.

"Love," Lust for Life (2017)

For as much as Del Rey recognizes how fallible many of our culture's ideals are, she's always been a romantic. "Love," the first single from 2017's Lust for Life, is a prime example of this.

The whole album is a big play on her love of classic Hollywood imagery, including the video for "Love," and the song is a dreamy throwback to '50s love songs. If "Mariners Apartment Complex" chides anyone thinking Del Rey can only be sad, "Love" is a full rebuke, as it's one of her most straightforwardly optimistic tracks. Commercially, "Love" was Del Rey's highest-charting feat since Ultraviolence (landing at No. 44 on the Billboard Hot 100), further establishing that she had longevity.

"Chemtrails over the Country Club," Chemtrails over the Country Club (2021)

2020 and the pandemic did a number on everyone, radically altering lives and shaking faith in many of the institutions of everyday life. That unmooring is felt on Del Rey's seventh album, Chemtrails over the Country Club, and particularly on its title track.

Del Rey is as sharp as ever in exploring the pulse of American society on the dreamy, disaffected number. "You're in the wind, I'm in the water/ Nobody's son, nobody's daughter" is a breathtaking piece of writing that became a TikTok favorite, illustrating Del Rey's continuing ability to relate to the youth.

Expert

"F—ed My Way Up To the Top," Ultraviolence (2014)

As we enter the realm of the Expert Lana Del Rey fan, we're firmly out of album singles territory. From here, it's all deep cuts and non-album tracks.

Del Rey has been no stranger to controversy — some warranted, some not. An early knock against her was that the mid-20th century aesthetic and perceived submissiveness in her music was anti-women or anti-feminist, a surface-level reading that in the years since has been largely dispelled.

The singer has worked to combat it herself on tracks like Ultraviolence's "F—ed My Way Up To the Top," which takes that perceived notion to its extreme. At the same time, it's another in a long line of tracks in which Del Rey has embraced her own sexuality and sensuality as something to be celebrated and claimed, not something to be ashamed of.

"Art Deco," Honeymoon (2015)

2015's Honeymoon isn't necessarily underappreciated, as it received positive reviews upon release debuted at No. 2 on the Billboard 200, but "Art Deco" isn't likely to appear on many playlists. It should, though, as the track illustrates how much of musical chameleon Del Rey really is, with a sultry, hip-hop inspired rolling beat.

It treads some familiar territory thematically with trying to find acceptance in night life, but Del Rey is really comfortable here. She shows more of her knowledge of art history by relating the subject of the song to the defining characteristics of the titular art movement, revealing just how much thought she puts into her aesthetic.

"Fingertips," Did you know that there's a tunnel under Ocean Blvd (2023)

Did you know that there's a tunnel under Ocean Blvd is arguably Del Rey's most intimate album, exploring details of her family and their history that fans have only previously seen brief glimpses of. At the same time, it is partially an examination of her own legacy and work, only natural for someone with as much output as Del Rey, let alone her frequent references to death and finality.

Both of these things combine in "Fingertips," a standout track from the album. A nearly six-minute long ballad, it's musically airy while emotionally devastating — and, for a true Del Rey fan, encapsulates so much of her legacy in just one song.

Diehard

"Yayo," Paradise (2012)

For fans in the Diehard level, everything before is old news. This is for fans who want to fully live the Lana life, who have all her albums on vinyl and have carefully built their image and fashion around her.

Speaking of her image, this section starts with "Yayo," an extremely early deep cut. This track originally appeared on Lana Del Ray before being reworked and rereleased on the Paradise EP in 2012. The song leans heavier than most into the '50s imagery and floats along at a dreamy, lilting pace. While not as refined as her later work, "Yayo" is an indicator Del Rey had a solid idea of who she wanted to be as soon as she started.

"Season of the Witch," Non-album Single (2019)

Del Rey has done several covers throughout her career, and quite successfully. Norman F—ing Rockwell! features her cover of Sublime's "Doin' Time," which is one of the highlight tracks from the record. Less known is Del Rey's spooky cover of '60s classic "Season of the Witch."

Written for the 2019 horror film Scary Stories to Tell in the Dark, the song fits Del Rey's style perfectly. The Americana/flower crown aesthetic of her younger years always leaned witch-adjacent, and Del Rey takes her soft vocals into playfully sinister territory. It's a fun cover, and shows just how many gems Del Rey has in her discography for those fans willing to dig.

"Say Yes to Heaven," Non-album Single (2023)

"Say Yes to Heaven" was never supposed to be heard. A late cut from Ultraviolence, the track remained buried for years before being leaked in 2016. It lurked on the internet, only known to superfans, before gaining steam with the rise of TikTok and finally seeing an official release in 2023.

The deep cut is peak Del Rey ballad material, a tender love song imploring her partner to accept happiness. It's another rebuke of the idea that she can't be happy, and it gives insight into some of her earlier writing.

As a resurfaced older track, "Say Yes to Heaven" may not necessarily indicate the direction Lana Del Rey is set to go on her forthcoming album, Lasso (especially considering Del Rey has teased she's "going country" for her next release). But it's a beautiful reminder of the affecting narratives and arresting vocals that have made her beloved to so many, no matter the level of fandom.

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Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album | GRAMMY.com (2024)

FAQs

What is the message of The Tortured Poets Department? ›

'The Tortured Poets Department'

The song in general speaks to being in a doomed yet deep relationship filled with emotional turbulence and heartbreak. And who would understand that better than two “tortured”, poetic artists?

Why is it called The Tortured Poets Department? ›

Many fans assume the inspiration for “The Tortured Poets Department” name came from an interview of Swift's ex-boyfriend Joe Alwyn, Paul Mescal and Andrew Scott where the actors discuss having a group chat called “The Tortured Man Club.”

What does "we hereby conduct this post mortem" mean? ›

The phrase is “an analysis or discussion of an event after it is over,” according to Merriam-Webster. Meanwhile, the website also describes it as something that is “done, occurring, or collected after death.”

Will Tortured Poets Department be on Apple Music? ›

‎THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY - Album by Taylor Swift - Apple Music.

What is the message behind the poem? ›

The message of a poem is often conveyed through the emotions and ideas expressed by the poet. By examining the language and structure of the poem, readers can gain insight into the poet's intended message.

What is the main idea or central message of the poem? ›

Theme is the main or central idea in a literary work. It is the unifying element of a story.

Why did Taylor call it The Tortured Poets Department? ›

Initially, the title seemed as if it might be a smirking reference to Joe Alwyn (he once joked about being part of a WhatsApp group called the Tortured Man Club). But I find that the phrase works well as a summation of Swift's entire self-conception. She has always made a big deal about her pain being generative.

What are people saying about The Tortured Poets Department? ›

In The Tortured Poets Department, Swift weaves complicated stories through powerful singing. She captures the nuances of her relationships romantically, with the media, with her fans, and with herself. It seems that she's touched the lives of millions all over, creating an album that will surely go down in history.

What are the 5 stages of grief in The Tortured Poets Department? ›

The stages, as first described by Dr. Elisabeth Kübler-Ross in her book On Death and Dying, are as follows: denial, anger, bargaining, depression and acceptance.

What is the purpose of the post mortem? ›

A post-mortem examination, also known as an autopsy, is the examination of a body after death. The aim of a post-mortem is to determine the cause of death. Post-mortems are carried out by pathologists (doctors who specialise in understanding the nature and causes of disease).

What is the explanation of post mortem? ›

A post-mortem examination (also called an autopsy) is a medical examination of a dead body to determine the exact cause of death. It is carried out by a pathologist (a doctor who specialises in the nature and causes of disease).

What is the meaning of post mortem of event? ›

A Post Mortem, in the context of meetings, is a process usually conducted at the conclusion of a project to determine which parts of the project were successful or unsuccessful. Project post-mortems are intended to inform process improvements, mitigate future risks, and promote iterative best practices.

What is the secret word in The Tortured Poets Department? ›

Swift later used a song from each playlist to reveal a hidden word on Apple Music each day leading up to the release of "The Tortured Poets Department." The final word, "mortem," was revealed Thursday, hidden in the lyrics of the song "Begin Again." The secret message was "We hereby conduct this post mortem."

Is the tortured poets era Taylor Swift? ›

The Tortured Poets Department is the eleventh studio album by the American singer-songwriter Taylor Swift, released on April 19, 2024, through Republic Records. It was expanded into a double album two hours after its release, subtitled The Anthology, containing a second volume of songs.

Why are there no swear words on Apple Music? ›

If you can't play explicit songs, you might have restrictions (parental controls) turned on for music on your device. To listen to explicit songs, turn restrictions off on any of your devices.

What is the message of the poem departmental? ›

The ant represents a person and the colony represents the state. Here, Frost is also discussing how society has become so departmental. He is saying that people no longer care what happens to others as long as it does not affect their life. Every citizen goes through the motions and that is what keeps society moving.

What does the tortured poet's society mean? ›

First is a reference to the movie Dead Poets Society (1989), where the main character is a high-school English teacher played by Robin Williams, who certainly led a tortured life. My second guess is a reference to the group chat on WhatsApp (called the Tortured Man Club) belonging to TS's former boyfriend Joe Alwyn.

What is the central idea of the poem meeting poets? ›

Explanation: the poem 'Meeting Poets' is jotted down by Eunice de Souza. In this poem the poet encourages the readers to pass judgment on the poets by their poetry rather than by their appearances.

What is the message of the movie Dead Poets Society? ›

It is a highly inspirational and transformative story about what makes life worth living. The one thing nobody has in abundance is time; therefore, one must seize the day, while we still may. The real tragedy of life is purposeless existence: if we were to discover on the day we died that we had not even lived.

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