Almost a year after the original album’s release, Taylor Swift returns with an extended version of her 12th studio album. Written with long-time collaborators Max Martin and Shellback, these four new tracks feel like an extension of the world she created with “The Life of a Showgirl,” fitting her current pop sound.
“Patient Zero:”
Announced as a single before the rest of “The Encore,” “Patient Zero” is a strong opening track to what she named “Disc 2” of the album. It maintains the pop production of this album, with its sharp lyrics and catchy chorus.
In true Taylor Swift fashion, she turns past experiences into material for a song.This time, she focuses on the aftermath of a relationship and the connection between women who may have shared similar experiences with the same man.
It recalls the idea of female solidarity that she referred to in “Vigilante Shit,” approached from a different angle. Instead of seeking revenge, Swift seems more interested in recognizing a pattern in the man and being there for another woman who experienced it too.
It has the qualities expected from a Taylor Swift song: a strong hook, a solid bridge, a catchy chorus, detailed lyrics and a story that leaves room for interpretation.
The song also has a music video scheduled to premiere during the 20206 MTV Video Music Awards, starring Dakota Johnson and Colin Farrell.
Rating: 5/5
“Cleveland!:”
Swift turns criticism about herself into self-commentary, something she has done before in many songs.
The beat has an almost Christmas-like quality that clashes with the rest of the album and makes listeners wonder if this is a way to stay in the charts until the holiday season.
The lyrics feel noticeably weaker than Swift’s usual writing. Without comparing it to the peak of her lyricism (her album “Folklore”), it’s not up to par with other songs on this same album, which were already criticized for their lack of poetic depth.
She makes a reference to “New Heights” again, her husband Travis Kelce’s podcast that feels unnecessary.
The spoken section is particularly distracting. Instead of adding another layer to this song, it breaks up the track’s revision.
Rating: 1/5
“Pink Clouding:”
The third song brings a softer, more ethereal side to “The Encore,” while remaining in the pop genre.
The contrast between the dreamy sound and more reflective lyrics make “Pink Clouding” stand out.
She made some strong, unique choices in this track. The alliteration of plosive sounds make the lyrics particularly satisfying to hear, the faster vocal parts create suspense and the higher harmonies in the background compliment Swift’s voice.
The lyrics are also vulnerable, as she apologetically takes accountability for the end of a past relationship.
Rating: 4/5
“Babylon:”
It is the most nostalgic of the four tracks, in both its lyrics and production. Its guitar-driven sound brings back a familiar version of Swift.
The song centers on looking at the past from a distance. The main point of the song is conveyed in the lyric: “You’re using nostalgia as a weapon to hurt yourself/ But darling, you end up hurting everybody else.”
It connects to her song “The Lucky One” when she talks about the unknown drawbacks of being famous. “Give the people what they want,” she says.
In both songs she reflects on not seeing the value of what you had until it’s gone. She transmits this by changing the lyrics in the chorus from “You hate this song” to “You love this song.”
The main strength of this song is Swift’s infamous storytelling.
Overall Rating: 5/5
The four songs work as an extension of an era that was heavily focused on fame, relationships, performance and rumors. The main show may already be over, but for Swift, there’s always an encore.