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      Taylor Swift Has Given Fans a Lot. Is It Finally Too Much?

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      Swift has been inescapable over the last year. With the release of “The Tortured Poets Department,” her latest (very long) album, some seem to finally be feeling fatigued.Four new studio albums. Four rerecorded albums, too. A $1 billion oxygen-sucking world tour with a concert movie to match. And, of course, one very high-profile relationship that spilled over into the Super Bowl.For some, the constant deluge that has peaked in the past year is starting to add up to a new (and previously unthinkable) feeling: Taylor Swift fatigue.And it is a feeling that has only solidified online in the days following the release of “The Tortured Poets Society,” which morphed from a 16-song album into a 31-song, two-hour epic just hours after its release.Many critics (including The New York Times’s own) have suggested that the album was overstuffed — simply not her best. And critiques of the music have now opened a sliver of space for a wider round of complaint unlike any Swift has faced over her prolific and world-conquering recent run.“It’s almost like if you produce too much… too fast… in a brazen attempt to completely saturate and dominate a market rather than having something important or even halfway interesting to say… the art suffers!” Chris Murphy, a staff writer at Vanity Fair, posted on X.Which is not to say nobody listened to the album; far from it. Spotify said “Poets,” which was released on Friday, became the most-streamed album in a single day with more than 300 million streams.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Cher, Dave Matthews Band and A Tribe Called Quest Join Rock Hall of Fame

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      Mary J. Blige and Ozzy Osbourne were also voted in, but Sinead O’Connor, who died last year at 56, did not make the cut.Cher, Ozzy Osbourne, Peter Frampton and Mary J. Blige are part of the Rock & Roll Hall of Fame’s class of 2024, along with Dave Matthews Band, Kool & the Gang, Foreigner and A Tribe Called Quest, the hall announced on Sunday.The latest crop of stars will officially join the pantheon in a ceremony on Oct. 19 at Rocket Mortgage Fieldhouse in Cleveland, where the hall’s affiliated museum is also located.The 39th annual group of inductees matches the hall’s genre and demographic spread of recent years, with a pop diva (Cher), a metal idol (Osbourne), a top funk band of 1970s and ’80s vintage (Kool & the Gang), a couple of ’90s hip-hop and R&B heroes (Blige, Tribe) and rock mainstays from the boomer (Frampton, Foreigner) and Gen X (Matthews) eras.Of those artists, four were elevated to the hall on their first nomination: Cher, Foreigner, Frampton and Kool & the Gang. Osbourne was nominated for the first time as a solo act, though he had joined the hall as part of Black Sabbath in 2006. The Rock Hall has come under increasing pressure in recent years to diversify its ranks with more women and artists of color, and has made progress in that regard, though some critics say it is not enough.“Rock ’n’ roll is an ever-evolving amalgam of sounds that impacts culture and moves generations,” John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, said in a statement. “This diverse group of inductees each broke down musical barriers and influenced countless artists that followed in their footsteps.”Seven acts that were nominated in February did not make the cut: Mariah Carey, Jane’s Addiction, Oasis, Sade, Eric B. & Rakim, Lenny Kravitz and, perhaps most surprisingly, Sinead O’Connor, whose death last year, at age 56, elicited a global outpouring of grief and a reconsideration of her place in rock history.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Culture Desk: Taylor Swift’s “The Tortured Poets Department” Reviewed

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      Larissa Anderson and On Friday, Taylor Swift released her 11th studio album, “The Tortured Poets Department.” Two hours after the initial release at midnight, she announced a second volume of the album, bringing the number of new songs to 31.Our pop music critic Lindsay Zoladz assessed them all and found that despite several strong songs, Swift’s abundance yields diminishing returns.On today’s episodeLindsay Zoladz, a pop music critic for The Times.Photo Illustration by The New York Times; Photo: Michael Tran/Agence France-Presse — Getty ImagesAdditional readingLindsay’s review of “The Tortured Poets Department”The New York Times Audio app is home to journalism and storytelling, and provides news, depth and serendipity. If you haven’t already, download it here — available to Times news subscribers on iOS — and sign up for our weekly newsletter. More

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      Taylor Swift’s New Album, ‘The Tortured Poets Department,’ Could Use an Editor: Review

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      Over 16 songs (and a second LP), the pop superstar litigates her recent romances. But the themes, and familiar sonic backdrops, generate diminishing returns.If there has been a common thread — an invisible string, if you will — connecting the last few years of Taylor Swift’s output, it has been abundance.Nearly 20 years into her career, Swift, 34, is more popular and prolific than ever, sating her ravenous fan base and expanding her cultural domination with a near-constant stream of music — five new albums plus four rerecorded ones since 2019 alone. Her last LP, “Midnights” from 2022, rolled out in multiple editions, each with its own extra songs and collectible covers. Her record-breaking Eras Tour is a three-and-a-half-hour marathon featuring 40-plus songs, including the revised 10-minute version of her lost-innocence ballad “All Too Well.” In this imperial era of her long reign, Swift has operated under the guiding principle that more is more.What Swift reveals on her sprawling and often self-indulgent 11th LP, “The Tortured Poets Department,” is that this stretch of productivity and commercial success was also a tumultuous time for her, emotionally. “I can read your mind: ‘She’s having the time of her life,’” Swift sings on “I Can Do It With a Broken Heart,” a percolating track that evokes the glitter and adoration of the Eras Tour but admits, “All the pieces of me shattered as the crowd was chanting ‘more.’” And yet, that’s exactly what she continues to provide, announcing two hours after the release of “Poets” that — surprise! — there was a second “volume” of the album, “The Anthology,” featuring 15 additional, though largely superfluous, tracks.Gone are the character studies and fictionalized narratives of Swift’s 2020 folk-pop albums “Folklore” and “Evermore.” The feverish “Tortured Poets Department” is a full-throated return to her specialty: autobiographical and sometimes spiteful tales of heartbreak, full of detailed, referential lyrics that her fans will delight in decoding.Swift doesn’t name names, but she drops plenty of boldfaced clues about exiting a long-term cross-cultural relationship that has grown cold (the wrenching “So Long, London”), briefly taking up with a tattooed bad boy who raises the hackles of the more judgmental people in her life (the wild-eyed “But Daddy I Love Him”) and starting fresh with someone who makes her sing in — ahem — football metaphors (the weightless “The Alchemy”). The subject of the most headline-grabbing track on “The Anthology,” a fellow member of the Tortured Billionaires Club whom Swift reimagines as a high school bully, is right there in the title’s odd capitalization: “thanK you aIMee.”At times, the album is a return to form. Its first two songs are potent reminders of how viscerally Swift can summon the flushed delirium of a doomed romance. The opener, “Fortnight,” a pulsing, synth-frosted duet with Post Malone, is chilly and controlled until lines like “I love you, it’s ruining my life” inspire the song to thaw and glow. Even better is the chatty, radiant title track, on which Swift’s voice glides across smooth keyboard arpeggios, self-deprecatingly comparing herself and her lover to more daring poets before concluding, “This ain’t the Chelsea Hotel, we’re modern idiots.” Many Swift songs get lost in dense thickets of their own vocabulary, but here the goofy particularity of the lyrics — chocolate bars, first-name nods to friends, a reference to the pop songwriter Charlie Puth?! — is strangely humanizing.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Vampire Weekend’s New Album Goes Underground and All Over

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicVampire Weekend recently released its fifth album, “Only God Was Above Us.” From the band that got started nearly two decades ago at Columbia University but now resides in Los Angeles, it’s an LP that ponders hitting 40, the lessons of history, generational legacies, myths and memories of New York City and Vampire Weekend’s own peculiar status as both an indie-rock success story and an arty pop outlier. It’s also the band’s noisiest album — and perhaps its kindliest.On this week’s Popcast with the guest host Jon Pareles, three critics discuss Vampire Weekend’s latest conundrums, counterpoint, sonic extremes and hidden jam-band core — and its fascination with tunnels.Guests:Amanda Petrusich, staff writer at The New YorkerMatthew Strauss, deputy managing editor of PitchforkConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Taylor Swift and Beyoncé Avoided a Collision on the Charts. (Again.)

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      Pop’s two reigning queens are often cast as rivals, but they have continually supported each other — and spaced out their album releases.In February, Taylor Swift took the stage at the Grammy Awards to accept the prize for best pop vocal album. After dutifully thanking the Recording Academy and her fans, she got down to business: “My brand-new album comes out April 19,” she said, in a surprise announcement revealing “The Tortured Poets Department.” It was a heads up for her loyal followers, as well as anyone else in the business with a spring release on the radar: If you want your new album to debut at No. 1, don’t release it on April 19. Or April 26. Or May 3, for that matter.A week later, following a teaser during a Super Bowl commercial, Beyoncé also dropped news of a new album: “Cowboy Carter” would arrive earlier than “Poets,” with breathing room, on March 29. Another pop powerhouse in the Grammy audience made her own announcement in early April: Billie Eilish will unveil her forthcoming third album, “Hit Me Hard and Soft,” a month after Swift’s release, on May 17.Beyoncé and Swift, the 21st century’s pre-eminent pop stars, have often been cast as competitors if not rivals, a story line partly rooted in misogyny and amplified by dueling fan armies filled with stans, or superfans.For their part, the two artists have regularly dispelled the notion over the years. They were first linked, through no fault of their own, at the 2009 MTV Video Music Awards, when Kanye West interrupted a Swift acceptance speech to advocate for her fellow nominee Beyoncé; later that night, Beyoncé brought Swift onstage to finish her remarks. In 2021, Swift shared on Instagram that Beyoncé had sent her congratulatory flowers after Swift won the album of the year Grammy for “Folklore,” calling Beyoncé “the queen of grace & greatness.” And last year, following their blockbuster stadium tours, they appeared at each other’s concert film premieres, a pointed rebuke to message-board zealots looking to sow discord.“Clearly, it’s very lucrative for the media and stan culture to pit two women against each other, even when the two artists in question refuse to participate in that discussion,” Swift told Time magazine. (Representatives for Swift and Beyoncé declined to comment.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Beyoncé’s ‘Cowboy Carter’ Is a Vivid Mission Statement. Let’s Discuss.

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      The pop superstar teased a move to country, then tackled so much more. Three critics and a reporter explore her new album’s inspirations, sounds and stakes.BEN SISARIO I don’t usually say this about news releases, but since Beyoncé says so little about the making of her art, the “Cowboy Carter” announcement was intriguing for noting that “each song is its own version of a reimagined Western film,” and that Beyoncé screened movies while she recorded, including “Urban Cowboy,” “The Hateful Eight,” even “Space Cowboys” (?!).My first reaction to hearing the album was surprised gawking at its range of genre and sound, after she head faked us all into perhaps more limited expectations of “country.” (Of course we should have known better.) Viewed only as a genre-hopping exercise, “Cowboy Carter” might be a confusing jumble. But the film frame puts narrative and character at the center of her message, and with that everything came into clearer focus for me.As a heroine, Beyoncé makes a big, bold statement of her quest in “Ameriican Requiem,” taking on nothing less than American history. She finds villains in Jolene and (ahem) the Grammys. Songs like “II Most Wanted” and “Levii’s Jeans” could be plot-break montages while our conquering cowgirl hangs with some sidekicks she meets along the way. By the final reel she’s recapitulating her complaints and declaring herself the victorious leader of a grand resistance (“We’ll be the ones to purify our fathers’ sins”).SALAMISHAH TILLET I’ve listened to the album so many times now — on a plane, in a spin class, and, as I think she intended, while I drove on the highway (sadly, 280, not the 405). Yes, Ben, she has gone big here! But, instead of longing for some lost past, she is taking on “History” — musical and American — with, as we say in academia, a big “H,” or those big narratives about identity, belonging and discrimination.I almost missed those lyrics, “Whole lotta red in that white and blue, ha/History can’t be erased, oh-oh/You lookin’ for a new America” because I was too busy Proud Marying, jerking and twerking to “Ya Ya.” I think that might be the point — it is as if she saying, “The times are so desperate, I am going to use all the vocal gifts and genres at my disposal to bring the country together and show you how good I am at doing them (again)!”Beyoncé onstage with the Chicks performing “Daddy Lessons” at the 2016 Country Music Association Awards.Image Group LA/ABC, via Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Cowboy Carter’ Review: Beyoncé’s Country Is America. Every Bit of It.

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      On the bold, sprawling “Cowboy Carter,” the superstar plays fast and loose — and twangy — with genre.The first song on “Cowboy Carter,” Beyoncé’s not-exactly-country album, makes a pre-emptive strike. “It’s a lot of talking going on while I sing my song,” she observes in “Ameriican Requiem” over guitar strums and electric sitar, adding, “It’s a lot of chatter in here.”That’s an acknowledgment that a pop superstar’s job now extends well beyond creating and performing songs. In the era of streaming and social media, Beyoncé knows that her every public appearance and utterance will be scrutinized, commented on, cross-referenced, circulated as clickbait and hot-taked in both good faith and bad. Every phrase and image are potential memes and hyperlinks.It’s a challenge she has engaged head-on since she released her visual album “Beyoncé” in 2013. For the last decade, even as her tours have filled stadiums, she has set herself goals outside of generating hits. Beyoncé has deliberately made each of her recent albums not only a musical performance but also an argument: about power, style, history, family, ambition, sexuality, bending rules. They’re albums meant to be discussed and footnoted, not just listened to.“Cowboy Carter” is an overstuffed album, 27 tracks maxing out the 79-minute capacity of a CD and stretching across two LPs. It flaunts spoken-word co-signs from Willie Nelson and Dolly Parton that interrupt its flow; it includes some fragmentary, minute-long songs. Its sprawl is its own statement of confidence: that even half-finished experiments are worth attention.The “Cowboy Carter” album cover is an opening salvo, brandishing western and American symbols: Beyoncé holding an American flag while riding a white horse sidesaddle, with platinum-blond hair proudly streaming. In a red-white-and-blue outfit, high-heeled boots and a pageant sash that reads “Cowboy Carter,” she’s a beauty queen and a white-hatted heroine claiming her nation — her country, in both senses. The politics of her new songs are vague and glancing, but the music insists that every style is her American birthright. As a pop star it is: Pop has always breached stylistic boundaries, constantly exploiting subcultures to annex whatever might make a song catchier.Beyoncé grew up in Texas, where country music has long mingled with styles from jazz to blues to hip-hop — and where, in fact, early cowboys were enslaved Black men. Beyoncé met a racial backlash when she performed “Daddy Lessons,” a country song from her 2016 album “Lemonade” about gun-toting self-defense, with the (then-Dixie) Chicks at the 2016 Country Music Association Awards. Presumably that’s what she alluded to when she wrote on Instagram that there was “an experience that I had years ago where I did not feel welcomed.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More