The 32-year-old singer used her acceptance speech at the MTV Video Music Awards to reveal her 10th studio album is on the way
Taylor Swift has announced she is releasing a new album, Midnights, in October.
While receiving the top honour at MTV’s annual Video Music Awards, the 32-year-old singer used her acceptance speech to announce her 10th studio album would come out on 21 October.
Continue reading...Singer had been sued by writers of 3LW’s 2000 song Playas Gon’ Play for alleged plagiarism, and the case is due to return to court
Taylor Swift has defended herself as the sole writer of her 2014 hit Shake It Off in response to a lawsuit claiming that she plagiarised lyrics from the 2000 song Playas Gon’ Play by girl group 3LW.
“The lyrics to Shake It Off were written entirely by me,” Swift stated in a sworn declaration filed on Monday. “Until learning about Plaintiffs’ claim in 2017, I had never heard the song Playas Gon’ Play and had never heard of that song or the group 3LW.”
Continue reading...At a Tribeca film festival event, the singer discussed directing the short All Too Well as well as the difficult time she went through over control of her music
Lines of young fans stretch down Broadway. Selfies aplenty snapped in a crowded lobby. Wild cheers as anticipation built inside, followed by intermittent shrieks during an opening speech from Tribeca film festival co-founder Jane Rosenthal. A short film screening that morphed into a pop concert, complete with sing-along.
It’s safe to say this wasn’t your standard film festival event. But what else do you expect when the festival, now in its 20th year, decided to trot out the newly-minted Dr Taylor Swift to muse about film-making in honor of her music video-slash-short film aptly dubbed All Too Well: The Short Film? Released in November and directed by Swift herself, it fit like a glove into the festival as production partly took place in the actual Tribeca neighborhood in New York.
Continue reading...As the festival returns from Covid-enforced hiatus, over half of the acts announced so far feature women
Paul McCartney, Kendrick Lamar and Olivia Rodrigo have been announced as among the stars performing at this summer’s Glastonbury festival.
Out of the 89 names announced so far, 48 are women or acts that include female artists, meeting festival co-organiser Emily Eavis’s previously stated intention for Glastonbury to achieve gender parity on its bill. “Our future has to be 50/50,” she told the BBC in 2020.
Continue reading...The singer tweeted that the Blur and Gorillaz frontman’s ‘hot take is completely false and SO damaging’ after comments in interview
Taylor Swift has called out Damon Albarn, lead singer of Blur and later of Gorillaz, on Twitter after the British musician told the LA Times she “doesn’t write her own songs”.
“I was such a big fan of yours until I saw this,” the American singer, 32, tweeted at Albarn. “I write ALL of my own songs. Your hot take is completely false and SO damaging. You don’t have to like my songs but it’s really fucked up to try and discredit my writing. WOW.”
Continue reading...Album also outselling rest of UK Top 40 combined, while Taylor Swift’s All Too Well (Taylor’s Version) becomes longest song to reach US No 1
Adele’s 30 is already the biggest-selling album of the year in the US, just three days after it went on sale.
Using a metric that combines sales of vinyl, CDs and downloads alongside streaming, 30 has sold over 575,000 copies. Adele has overtaken the previous highest seller Taylor Swift, whose December 2020 album Evermore has sold 462,000 copies this year.
Continue reading...As Swift rereleases 2012’s Red, her fans want to know – but you can buy a red scarf on the singer’s website
Taylor Swift runs a close second to Ezra Pound for having devotees scour every word of their hero’s writing in search for a deeper meaning. Those on social media may have spotted “Swifties” in a lather over a recent reference to the pop star’s mysterious red scarf.
Like a BBC Radio 4 discussion of Pound’s The Cantos, the forensic analysis of Swift’s famous winter accessory may have left some on social media perplexed. As a result, Nadia Khomami has prepared a guide for the uninitiated.
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Swift re-records the 2012 album on which she first embraced synth-pop, tweaking songs and adding others: a mix of saccharine fluff and superb keepers
After Fearless earlier this spring, Taylor Swift reaches the second instalment of her project to re-record (and regain ownership over) the six albums she released for label Big Machine, which were apparently sold out from under her to an old foe. Held up as a classic, 2012’s Red is one half some of the greatest pop songs of all time – I Knew You Were Trouble is the rare pop-EDM crossover that still stands up, the chorus drops hitting like bratty stomps of frustration at her own naivety; We Are Never Ever Getting Back Together is a euphoric cheerleader chant so ingratiating you wonder how nobody came up with it before – and one half schmaltzy stuffing, including collaborations with Ed Sheeran and Snow Patrol’s Gary Lightbody.
It’s the album on which she embraced synth-pop, presumably making its faithful replication slightly easier than the primarily organic Fearless – simply set the controls and go. The new version is more widescreen than the original, which was by no means a wallflower to start with. But revisiting this earlier material there was always going to be the problem that Swift’s voice is richer and more mature than it was a decade ago. She has often wielded her innocence as a weapon, but nowhere more so than on Red, where she used it to rebuke the older man (widely reputed to be actor Jake Gyllenhaal) who broke her heart at 21. The lack of burn and twang here slightly blunts the rabid, deliciously vindictive edge that fuelled the original’s tumultuous depiction of heartbreak, sketched in appropriately vaulting shades of pop, country, balladry and electro-tooled aggression.
Continue reading...2020’s heavily male ceremony reversed with wins for Arlo Parks, Haim and Billie Eilish, as Little Mix become first all-woman winner of British group
Dua Lipa has topped the winners at the 2021 Brit awards, calling for Boris Johnson to approve “a fair pay rise” for frontline NHS staff as she picked up gongs including the top prize of British album for her chart-dominating disco spectacular Future Nostalgia.
She also won female solo artist, bringing her total Brit award tally to five and cementing her position as one of the UK’s most successful and critically acclaimed pop stars.
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Painstakingly re-recording her breakthrough 2008 album to hit back at her music business enemies proves a fruitful endeavour for the songwriter
Since about 2018, Taylor Swift has been at the centre of arguably the most riveting contract dispute in music business history since Prince wrote “slave” on his cheek. It has been a conflict fought in public, in detail. No precis does the nuances justice, but the crux of Swift’s unhappiness is that the rights to her first six albums were sold out from under her nose when her former label, Big Machine, was acquired by a man she regards as an enemy: Scooter Braun.
Braun is Justin Bieber’s manager; more pertinently, he also managed the rapper Kanye West at a time when West was tormenting Swift – another vexed tale wrapped around this one in a double helix. The antagonism between Swift and West began when he interrupted her acceptance speech for best female video at the VMAs in 2009. The video in question was You Belong With Me – a hit from Swift’s hugely successful 2008 album Fearless. That album has now been totally re-recorded by Swift and was released on Friday.
Continue reading...While questions rightly remain over its shadowy nominations process, Grammy voters should be praised for honouring a large number of women and people of colour
The Grammys always attract a degree of controversy. This year, there was singer Teyana Taylor protesting that “all I see is dick” in the all-male nominations for best R&B album, and a slightly peculiar statement from Justin Bieber, asking to be considered an R&B artist rather than a pop singer. More headlines were grabbed by the Weeknd, understandably shocked that his double-platinum album After Hours, and its accompanying single Blinding Lights – a song so omnipresent that it recently celebrated an entire year in the US Top 10 – didn’t receive a single nomination: he subsequently announced he would stop his label submitting his music in future. The latter’s complaint revolved around a lack of transparency in the voting process: the presence of nomination committees that retain executive power over who makes the shortlists and who hold the ability to add artists who have received no nominations in many of the Grammys’ categories.
The argument about transparency isn’t going to go away – if your voting process involves a shadowy and apparently unanswerable cabal who exert control over the nominations, you should probably expect people to look askance at it – but, the absence of the Weeknd aside, the actual winners in the Grammys’ big categories brooked little argument.
Continue reading...The Covid-restrained Grammys were a mostly female-fronted affair, with wins for Billie Eilish, Megan Thee Stallion, Dua Lipa, Beyoncé and Taylor Swift
It was a historic, triumphant night for women in music at the 2021 Grammys, as a range of female artists took home the top awards. HER took home song of the year for the Black Lives Matter anthem I Can’t Breathe, Taylor Swift became the first woman to win album of the year three times, and the rapper Megan Thee Stallion won both best new artist and best rap performance for her Savage remix with Beyoncé, now the most awarded singer (male or female) and female artist of all time.
Related: Grammy awards 2021: the full list of winners
Continue reading...One contributor is notably absent from the new film about Britney: herself. But from Rihanna to Beyoncé to Taylor Swift, female stars have always struggled to tell their stories
In the closing song of Lin-Manuel Miranda’s Hamilton, we are invited to ponder the question: “Who lives, who dies, who tells your story?” It is a powerful message about legacy and ownership, as relevant to any modern public figure as it is about one of America’s founding fathers.
I think about this lyric whenever my mind strays to Britney Spears, who has found her life back under the microscope following the release of the documentary Framing Britney Spears. The story the film chooses to tell is contextualised by what we now understand as the rampant misogyny of the mid-to-late 00s, painting an empathic portrait of a woman who had not previously found much sympathy in the mainstream.
Continue reading...Butterflies with Mariah, Bronski Beat in the Peak District, Snoop Dogg on a food delivery ad … our writers reveal the tracks that made 2020 bearable
When it came to lockdown comfort listening, there was something particularly appealing about lush symphonic soul made by artists such as Teddy Pendergrass and the Delfonics. But there was one record I reached for repeatedly: Black Moses by Isaac Hayes, and particularly the tracks arranged by Dale Warren. Their version of Burt Bacharach’s (They Long to Be) Close to You is an epic, spinning the original classic into a nine-minute dose of saccharine soul. But their cover of Going in Circles, another Warren exercise in expansion, is their masterpiece, reimagining the Friends of Distinction original as a seven-minute arrangement with stirring strings and beatific backing vocals that builds into a story about lost love that transcends the genre’s usual parameters. A perfect, if slightly meta, balm for the repetitive lockdown blues. Lanre Bakare
Continue reading...Amid the chaos of the pandemic and with the future so uncertain, the pop music that resonated was glittery, danceable and comfortingly familiar
Pop music has the ability to be more reactive to current events than ever. Advances in technology mean that the famously swift musical responses of rock’s past – Crosby, Stills, Nash & Young’s Ohio, in the US Top 20 within weeks of the Kent State massacre that inspired it; the hastily cobbled-together tributes to Elvis Presley and John Lennon that appeared in the charts in the wake of their deaths – should theoretically look tardy. If an artist is so minded and inspired, they could write, record and release a song that reacts to current events overnight.
In 2020, there was a torrent of reactive tracks released in the wake of the killing of George Floyd and the Black Lives Matter protests: YG’s FTP, Lil’ Baby’s The Bigger Picture, Stevie Wonder’s Can’t Put It in the Hands of Fate, HER’s I Can’t Breathe, the two acclaimed double albums released by the mysterious British collective Sault. Even the Killers reworked their 2019 anti-Trump track Land of the Free to reference Floyd’s death. But if anyone was expecting something similar to happen as a result of Covid-19 – a rash of unexpected new releases ruminating on the strangeness and anxieties of life in a pandemic or sternly admonishing politicians for their mishandling of the crisis – 2020 will have proved a crashing disappointment. They didn’t happen in any quantity, unless you count the well-intentioned but musically ghastly burst of charity singles that proliferated during the spring lockdown, or the equally abysmal anti-lockdown tracks released by Van Morrison and Ian Brown, rock’s own tinfoil-hatted Laurel and Hardy. The music that did appear unexpectedly, from artists keen to put the time on their hands to creative use, largely avoided the subject of the pandemic entirely: Taylor Swift’s Folklore and Evermore, Charli XCX’s How I’m Feeling Now, Paul McCartney’s McCartney III.
Continue reading...Starting with the singer’s 2006 debut, Corinthians have not lost a match either side of the release of any of her albums
Name: The Taylor Swift Rule.
Age: 14.
Continue reading...The pop star’s Disney+ movie about quarantine album Folklore reveals the potency of her songwriting, though it’s hazy on any ‘pandemic epiphanies’
Pre-pandemic, few artists were so keenly attuned to the music industry’s calendar as Taylor Swift. She timed her album releases for awards contention and singles to sustain her world tours; the promotional cycle for 1989, released in 2014, seemed to go on for years. With coronavirus, that “circus” – as she puts it on Mirrorball, one of a few songs on her “quarantine album”, Folklore, that address the pandemic directly – was abruptly called off.
Stripped of those structures, “this lockdown could have been a time where I absolutely lost my mind”, Swift says in The Long Pond Studio Sessions, a film that explores the making and meaning of Folklore. Instead, in a matter of months, she created an album as good as any she has ever written. She collaborated remotely with the National’s Aaron Dessner, writing to his musical sketches and self-recording her performances at home.
Continue reading...Singer complains of ‘tasteless’ release amid coronavirus crisis by former label Big Machine, owned by frequent adversary Scooter Braun
Taylor Swift has disowned a new live album released under her name, calling it tasteless and “shameless greed” amid the coronavirus outbreak.
The album, Live from Clear Channel Stripped 2008, was recorded when Swift was 18, around the release of her Grammy-winning second album, Fearless. The live album has been released by Big Machine, Swift’s former label that was bought by music manager Scooter Braun from its founder, Scott Borchetta. Swift has frequently criticised Braun and Borchetta – leading Braun to allege death threats from fans to his family – and is planning to rerecord and rerelease her six albums put out by Big Machine to regain some control over her back catalogue.
Continue reading...It’s true the singer isn’t everyone’s favourite, but the online pasting she’s been subjected to leaves a very nasty taste in the mouth
In a way I’m glad that Kim Kardashian has reignited a four-year-old feud with Taylor Swift based on an 11-year-old feud with Taylor Swift that was all started by Kanye West, a man who has hardly been involved in it since about 2017. In a way, that’s good.
It’s hard not to [gestures at current reality] be constantly thinking about, you know, rather more pressing matters. The cleanliness of door handles, for example. The intensity of other people’s coughs, or how far to veer away from each other on the pavements while out on your government-mandated walk. Whether you have enough food in the cupboards to last two weeks. Whether daytime TV will ever go back to normal. How deeply we can possibly scrape the bottom of the Netflix barrel. How desperate for entertainment we will have to be to plunge ourselves into going on YouTube and watching a vlog. Right now, these are my worries. It’s nice of Kim Kardashian to try to distract me with something totally and utterly facile and pointless at a time of global crisis.
Continue reading...‘There’s always some standard of beauty that you’re not meeting,’ she tells Miss Americana director Lana Wilson
Taylor Swift has disclosed her experiences with an eating disorder in a new documentary. In Taylor Swift: Miss Americana, which received its premiere at the Sundance film festival last night, Swift says that she would starve herself to the extent that she felt as if she might pass out during live performances.
The 30-year-old star said she would make a list of everything she ate, exercised constantly and shrank to a UK size two; she is now a size 10. “I would have defended it to anybody who said ‘I’m concerned about you,’” she tells the film’s director, Lana Wilson.
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