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'''''The Tortured Poets Department'''''{{Efn|Stylized in [[all caps]], also shortened to '''''Tortured Poets''''' or abbreviated as '''''TTPD''''' colloquially.}} <!-- Add a stylization note "(stylized in all caps)" is currently being discussed on the talk page. --> 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]] upon release, subtitled '''''The Anthology''''', containing a second volume of songs.
'''''The Tortured Poets Department'''''{{Efn|Stylized in [[all caps]], also shortened to '''''Tortured Poets''''' or abbreviated as '''''TTPD''''' colloquially.}} <!-- Add a stylization note "(stylized in all caps)" is currently being discussed on the talk page. --> 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]] upon release, subtitled '''''The Anthology''''', containing a second volume of songs.


Swift began writing ''The Tortured Poets Department'' shortly after finishing her tenth studio album, ''[[Midnights]]'' (2022), and continued developing it behind [[the Eras Tour]] in 2023. She described ''The Tortured Poets Department'' as her "lifeline" album, conceiving it as an imperative songwriting project amidst her heightened fame and media scrutiny. The songs introspect on her public and private lives, detailing tumult and sorrow via motifs of self-awareness, delusion, anger, mourning, and humor. Produced with [[Jack Antonoff]] and [[Aaron Dessner]], the album is a [[Minimal music|minimalist]] [[synth-pop]], , and [[folk-pop]], and [[chamber pop]] effort with [[Rock music|rock]] and [[Country music|country]] stylings. The composition is largely [[mid-tempo]], driven by a mix of [[synthesizer]]s and [[drum machine]]s with piano and guitar.
Swift began writing ''The Tortured Poets Department'' shortly after finishing her tenth studio album, ''[[Midnights]]'' (2022), and continued developing it behind [[the Eras Tour]] in 2023. She described ''The Tortured Poets Department'' as her "lifeline" album, conceiving it as an imperative songwriting project amidst her heightened fame and media scrutiny. The songs introspect on her public and private lives, detailing tumult and sorrow via motifs of self-awareness, delusion, anger, mourning, and humor. Produced with [[Jack Antonoff]] and [[Aaron Dessner]], the album is a [[Minimal music|minimalist]] [[synth-pop]] and [[folk-pop]], and [[chamber pop]] effort with [[Rock music|rock]] and [[Country music|country]] stylings. The composition is largely [[mid-tempo]], driven by a mix of [[synthesizer]]s and [[drum machine]]s with piano and guitar.


The album broke various sales and streaming records. It achieved the [[List of Spotify streaming records#Most streamed albums in a single day|highest single-day and single-week global streams for an album]] on [[Spotify]] and topped the charts in territories across Europe, Asia-Pacific, and the Americas, breaking chart records in Australia, Canada, Germany, and the United Kingdom. In the United States, ''The Tortured Poets Department'' debuted atop the [[Billboard 200|''Billboard'' 200]] with first-week 2.6&nbsp;million [[album-equivalent unit]]s, including 1.9&nbsp;million pure sales, marking Swift's biggest sales week and [[List of fastest-selling albums#United States|record-extending seventh release to open with over a million units]]. Its songs made Swift the first artist to monopolize the first 14 positions of the [[Billboard Hot 100|''Billboard'' Hot 100]], with the lead single "[[Fortnight (song)|Fortnight]]" at the top.
The album broke various sales and streaming records. It achieved the [[List of Spotify streaming records#Most streamed albums in a single day|highest single-day and single-week global streams for an album]] on [[Spotify]] and topped the charts in territories across Europe, Asia-Pacific, and the Americas, breaking chart records in Australia, Canada, Germany, and the United Kingdom. In the United States, ''The Tortured Poets Department'' debuted atop the [[Billboard 200|''Billboard'' 200]] with first-week 2.6&nbsp;million [[album-equivalent unit]]s, including 1.9&nbsp;million pure sales, marking Swift's biggest sales week and [[List of fastest-selling albums#United States|record-extending seventh release to open with over a million units]]. Its songs made Swift the first artist to monopolize the first 14 positions of the [[Billboard Hot 100|''Billboard'' Hot 100]], with the lead single "[[Fortnight (song)|Fortnight]]" at the top.

Revision as of 14:22, 11 May 2024

The Tortured Poets Department
Monochrome image of Swift lying on a bed. The album title is displayed on the image. The image is surrounded by a thick white border.
Standard cover
Studio album by
Taylor Swift
ReleasedApril 19, 2024 (2024-04-19)
Studio
Genre
Length65:08
LabelRepublic
Producer
Taylor Swift chronology
1989 (Taylor's Version)
(2023) 		The Tortured Poets Department
(2024)
The Tortured Poets Department: The Anthology
Against a dark background, Swift strikes an artistic pose, bending her torso and holding her head.
Double album cover
An editor has nominated the above file for discussion of its purpose and/or potential deletion. You are welcome to participate in the discussion and help reach a consensus.
Singles from The Tortured Poets Department
  1. "Fortnight"
    Released: April 19, 2024

The Tortured Poets Department[a] 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 upon release, subtitled The Anthology, containing a second volume of songs.

Swift began writing The Tortured Poets Department shortly after finishing her tenth studio album, Midnights (2022), and continued developing it behind the Eras Tour in 2023. She described The Tortured Poets Department as her "lifeline" album, conceiving it as an imperative songwriting project amidst her heightened fame and media scrutiny. The songs introspect on her public and private lives, detailing tumult and sorrow via motifs of self-awareness, delusion, anger, mourning, and humor. Produced with Jack Antonoff and Aaron Dessner, the album is a minimalist synth-pop and folk-pop, and chamber pop effort with rock and country stylings. The composition is largely mid-tempo, driven by a mix of synthesizers and drum machines with piano and guitar.

The album broke various sales and streaming records. It achieved the highest single-day and single-week global streams for an album on Spotify and topped the charts in territories across Europe, Asia-Pacific, and the Americas, breaking chart records in Australia, Canada, Germany, and the United Kingdom. In the United States, The Tortured Poets Department debuted atop the Billboard 200 with first-week 2.6 million album-equivalent units, including 1.9 million pure sales, marking Swift's biggest sales week and record-extending seventh release to open with over a million units. Its songs made Swift the first artist to monopolize the first 14 positions of the Billboard Hot 100, with the lead single "Fortnight" at the top.

The album polarized critics upon release: most reviews were positive and praised Swift's cathartic songwriting for its emotional resonance and wit, but some found it overlong and lacking profundity. Journalists attributed the mixed reception to Swift's celebrity, which was used by some reviews to prioritize gossip and sensationalism over artistic evaluation. Some subsequent assessments appreciated the musical and lyrical nuances that emerged upon further listens. Swift included songs from the album in the 2024 phase of the Eras Tour, revamping the original set-list.

Background and conception

Swift released her tenth studio album, Midnights, on October 21, 2022, to widespread commercial and critical success.[1] In 2023, she released two re-recorded albums, Speak Now (Taylor's Version) and 1989 (Taylor's Version), as part of her re-recording project.[2] On February 4, 2024, the day of the 66th Annual Grammy Awards where Midnights had been nominated, Swift teased the release of a new album by changing the profile pictures across her social media accounts to black-and-white. Fans speculated online that she was preparing to release Reputation (Taylor's Version), a forthcoming re-recording of her sixth studio album, Reputation (2017).[3] Swift's website also appeared as if it had malfunctioned, reporting an unusual non-standard HTTP status code 321, as well as error code "hneriergrd", which fans deciphered to be an anagram spelling "red herring."[4] The source code of the website contained non-English words.[5]

On February 4, 2024, Swift won the Grammy Award for Best Pop Vocal Album and Album of the Year for Midnights; in her acceptance speech for the former, she announced a new studio album that she had worked on since 2022,[6] titled The Tortured Poets Department, set for release on April 19, 2024.[7][8] The album cover artwork was posted to her social media accounts, along with a photograph of a handwritten note, which incorporated English translations of the words from the source code:[5][9]

And so I enter into evidence / My tarnished coat of arms / My muses, acquired like bruises / My talismans and charms / The tick, tick, tick of love bombs / My veins of pitch black ink / All's fair in love and poetry...

Sincerely, The Chairman of the Tortured Poets Department.[10]

Swift characterized The Tortured Poets Department as a "lifeline" album—one that she "really needed" to make.[11] She began conceiving the album immediately after submitting Midnights to her record label, Republic Records, and continued working on it in secret throughout the U.S. leg of the Eras Tour in 2023.[12] While she was creating the album, her dating life continued to be a widely covered topic in the press, who reported on Swift in association with the actor Joe Alwyn, the singer Matty Healy, and the football player Travis Kelce.[13][14] According to Swift, creating the album proved to her the integral role of songwriting in her life. She stated, "I have never had an album where I needed songwriting more than I needed it on Tortured Poets."[15] In an Instagram post announcing the album's release, Swift further characterized the album as "an anthology of new works that reflect events, opinions and sentiments from a fleeting and fatalistic moment in time—one that was both sensational and sorrowful in equal measure."[16]

Composition

Themes and lyrics

Man in a hat
Post Malone (pictured, left) features on "Fortnight", and Florence and the Machine (frontwoman Florence Welch pictured, right) features on "Florida!!!".

The Tortured Poets Department consists of 16 standard songs and features two guest acts—the American rapper Post Malone on the lead single "Fortnight" and the English indie rock band Florence and the Machine, led by the singer-songwriter Florence Welch, on the song "Florida!!!".[17] The album was primarily written and produced by Swift with longtime collaborators Jack Antonoff and Aaron Dessner; Welch and Malone also co-wrote their respective collaborations with Swift.[18]

The album is rooted in personal songwriting, exploring Swift's introspections on the events in her private and public lives.[19][20] She was inspired by her tumultuous relationships[21] and the public perception of her celebrity[22][23] to create lyrical narratives that were messy, unbridled, and unguarded,[20][24][25] containing meta-references to her personal life through allusions and name-dropping.[26][27] Heartbreak is the primary topic,[28][29][30][31] expressed via varied themes such as delusion, anger, mourning, and death.[32][33][34][35] While the lyrics evoke vulnerable and devastating sentiments, they also incorporate humor and hyperbole.[24][28][33] Critics found them either self-aware[33] or self-conscious.[36] Swift considered the album a cathartic exercise[37] and described the content as "fatalistic" with overarching themes of "longing, pining, lost dreams".[22]

Critics characterized The Tortured Poets Department as a post-breakup album.[20][38][39] Ann Powers wrote in NPR that throughout the record, "Swift is trying to work out how emotional violence occurs."[40] In The Conversation, the music professor Samuel Murray opined that the album uses melodrama as a narrative device to "celebrate emotional vulnerability as she shares her innermost thoughts".[41] Business Insider's Callie Ahlgrim described the album's content as Swift's "messiest, horniest, and funniest".[42] In The Independent, Helen Brown suggested that Swift's songwriting draws on her country music roots to explore detail-heavy narratives.[43] While some critics argued that the album is autobiographical in nature,[43][44] Pitchfork's Shaad D'Souza argued that it straddles the confessional and the fictional storytelling.[45]

Production and music

"Fortnight"
The predominantly synth-pop sound of the album's first volume is exemplified by the opening track, "Fortnight", which features a pulsing synth bassline.
Problems playing this file? See media help.

Mainly produced by Swift and Antonoff, the album's standard portion is primarily synth-pop,[b] with a mid-tempo production incorporating subdued synths and sparse drum machines.[c] Swift mostly sings in her lower vocal register to deliver rap-like, conversational verses.[40][27][36] Critics found the production minimalist[d] and compared this synth-based sonic approach to the sound of Swift's previous album Midnights.[e] PopMatters's Igor Bannikov described it as "simplistic, indie-ish, and almost muted",[55] The Guardian's Alexis Petridis wrote that it additionally features "the glossy 80s-influenced pop-rock" of Swift's 2014 album 1989,[53] and The Times' Will Hodgkinson described the album as an amalgam of synth-pop and 1980s power ballads.[56]

Several tracks feature a more stripped-down instrumentation, driven by piano[40][30] or guitar,[57] with stylings of varied genres; "But Daddy I Love Him" and "Guilty as Sin?" incorporate live drums and influences of country and rock,[58] "Down Bad" evokes R&B in its dynamic shifts and cadences,[23][58] "Fresh Out the Slammer" features Western-rock electric guitars,[42] and "I Can Fix Him (No Really I Can)", "Florida!!!", and "Who's Afraid of Little Old Me?" experiments with Southern gothic.[54] Tyler Foggart of The New Yorker dubbed The Tortured Poets Department a mix of dream pop and Southern gothic infused with some "country-ish vibes",[59] while Josh Kurp of Uproxx thought that the album was genre-less.[19]

The second part of the double album, subtitled The Anthology, mostly consists of chamber pop[60] and folk-pop[55] piano ballads.[61] Swift and Dessner produced the majority of the second volume, which has an acoustic, folk-oriented sound[62] instrumented by picked acoustic guitar, soft piano, and subtle synths,[44] which critics likened to the sound of Swift's 2020 albums Folklore and Evermore.[f] Neil McCormick of The Daily Telegraph argued that this mellower sound allows for more subtlety in the lyrics, which explore Swift's character studies ("Cassandra", "Peter", "Robin") and self-reflection ("The Albatross", "The Bolter", "I Look in People's Windows", "I Hate It Here").[44]

Title and artwork

The album's official logo features its abbreviated title.

The lack of an apostrophe in the official title, as in The Tortured Poets' Department, was the subject of a debate over grammatical correctness. Scholars stated that Swift employed Tortured Poets as an attributive noun, as in the case with the 1989 drama film Dead Poets Society, and not as a possessive noun that warrants an apostrophe.[64] A fan theory posits that the title references a group chat shared between Andrew Scott, Paul Mescal, and Joe Alwyn titled "The Tortured Man Club".[65]

The cover artwork, photographed by American photographer Beth Garrabrant, is a black-and-white glamor photo shot of Swift lying on a bed wearing black lingerie: a see-through top and high waist shorts,[66][67][68] from the fashion labels the Row and Yves Saint Laurent.[67][69] Both the artwork and title were parodied by numerous brands, organizations, sports teams, and franchises, and inspired numerous memes.[70][71][72] Media outlets described the album's visual aesthetic as dark academia.[73][74][75]

Promotion and release

The Tortured Poets Department was released on April 19, 2024, during National Poetry Month.[8] A double album edition, subtitled The Anthology and containing 15 bonus tracks, was surprise-released two hours later on the same day.[76] Swift revealed the standard track list and guest features on her social media on February 6, 2024.[17] Four physical editions of the album, each titled after and containing a bonus track, namely "The Manuscript", "The Bolter", "The Albatross", and "The Black Dog", were also made available for purchase; Swift announced the latter three editions during the Asia-Pacific leg of the Eras Tour, her sixth headlining concert tour.[77] One of the collector's edition deluxe CDs of the album sold out on her website in its first two hours of availability.[78][79] Physical copies of the album also include an original poem by Stevie Nicks.[80]

The album was promoted by digital service providers such as Apple Music, Spotify, YouTube, Instagram, and Threads. It included five Swift-curated Apple Music playlists inspired by the stages of grief and an Easter egg hunt for new lyrics within the playlists' songs;[81][82][83] a pop-up library of curated articles at The Grove, Los Angeles, hosted by Spotify;[84] QR code murals in various cities worldwide that lead to unlisted YouTube shorts on Swift's channel;[85][86] a countdown to the album's release revealed upon refreshing Swift's Instagram profile; and special shimmer effects on Threads posts tagged with hashtags related to Swift and the album.[87] Radio platforms iHeartRadio, which temporarily rebranded as iHeartTaylor, and Sirius XM also announced special programs in tribute of the album, featuring exclusive content from Swift.[88][89][90]

The standard edition of the album was leaked in its entirety on April 17, 2024, two days before its official release,[91] which resulted in the phrase "Taylor Swift leak" being temporarily banned from searches on the social media platform X (formerly Twitter).[92] On April 18, Swift announced "Fortnight" as the lead single, released in conjunction with the album.[93] Later that day, Swift posted a teaser trailer for its accompanying music video, set for release on the album's release day.[94] Following several Easter eggs hinting to the number "2", including a countdown on Swift's Instagram page, The Anthology was released two hours after the standard edition.[95] The Black Dog, a pub in Vauxhall, London, received a surge in attention and visits by Swifties after it was mentioned in the song "The Black Dog".[96][97]

Critical reception

Reviews

Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?7.5/10[98]
Metacritic76/100[g]
Review scores
SourceRating
AllMusic[101]
Clash8/10[102]
The Daily Telegraph[h]
The Guardian[53]
The Independent[43]
NME[46]
Pitchfork6.6/10[i]
Rolling Stone[j]
Slant Magazine[50]
The Times[103]

According to the review aggregator Metacritic, The Tortured Poets Department received "generally favorable reviews" based on a weighted average score of 76 out of 100 from 24 critic scores.[99] Its second part, The Anthology, scored 69 from 6 critic scores.[100] Depending on their assessments, publications found the critical consensus mixed[104] to positive.[105][106]

A number of critics regarded the album a landmark in Swift's discography. Reviews from The Independent's Helen Brown,[43] The Arts Desk's Ellie Roberts,[24] The Times' Dan Cairns,[103] PopMatters's Jeffrey Davies,[52] and Will Harris of Q praised the album as one of Swift's most solid outputs, considering the musical composition, vocal stylings and lyrical tonality as ambitious and tastefully experimental;[107] Others, including Variety's Chris Willman,[30] the i's Ed Power,[73] and The Observer's Kitty Empire, called it a quintessential Swift album.[108]

Swift's songwriting was a source of compliment. The Line of Best Fit's Paul Bridgewater dubbed it her most cohesive body of work to-date, finding the music sophisticated and the lyricism symbolic.[34] To Ludovic Hunter-Tilney of the Financial Times, the album is a stylistic evolution for Swift, with writing that marks a "characteristically appealing turn" into moody melodrama.[31] Alexis Petridis of The Guardian and Alex Hopper of American Songwriter thought that the album has Swift's wittiest lyrics, featuring nuanced musical choices that show Swift is "willing to take risks in a risk-averse era for pop" and "constantly evolving and pushing her limits", respectively.[53][109] In a more measured review, Olivia Horn of Pitchfork felt the lyrics did not "distill an overarching emotional truth, tending to smother rather than sting."[48] Others, such as The New York Times' Lindsay Zoladz, Slant Magazine's Jonathan Keefe, and Exclaim!'s Alex Hudson, described some lyrics as weak and overwritten; Hudson claimed that many of its tracks "mistake verbosity for poetry".[110][50][62]

The tumultuous mood and unconstrained emotion of the lyrics were also highlighted. Multiple reviews complimented the album's heavy, unfiltered emotion;[73][20][30][111] Clash's Lauren Webb described it as "a spell-binding, toxic, chaotic illustration" of deteriorating mental sanity.[102] Powers opined that The Tortured Poets Department shows Swift's newfound freedom, with a "lack of concern about whether these songs speak to and for anyone but herself".[40] In a similar perspective, rave reviews from Rolling Stone's Rob Sheffield and Variety's Chris Willman described the album as Swift's "gloriously chaotic" and "audacious, transfixing" project, respectively.[28][30] To Willman, the album combines "cleverness with catharsis".[30] Consequence's Mary Siroky, on the other hand, found this style of lyricism jarring and "outright bizarre" at times, and felt the album was an attempt at self-parody rather than a showcase of Swift's songwriting acumen.[49]

Many critics, including Zoladz,[110] NME's Laura Molloy,[46] and Stereogum's Tom Breihan, argued that Swift and Antonoff's collaboration on The Tortured Poets Department was uninventive due to a sonic similarity to their past collaborations.[27] The New Yorker's Amanda Petrusich rather favored Dessner's input to the album as "gentler, more tender, and more surprising".[112] Horn and the BBC's Mark Savage felt the melodies were sonically monotonous and "staid",[37][48] but others argued that the minimalistic approach complemented Swift's hyper-personal lyrics;[50][108][53] Hopper opined that "Swift's confidence as an artist is at a peak" with The Tortured Poets Department.[109] According to Mary Kate Carr of The A.V. Club, the album is "perfectly good" but arrived at a time when Swift has "nothing to prove" anymore, resulting in a stagnant point in her artistry;[113] this idea was also shared by an anonymous, negative Paste review that criticized the album as rushed, hollow, and unrelatable.[26]

Post-review commentary

Various peer journalists and columnists cross-examined the album's critical reception. Publications considered The Tortured Poets Department a polarizing album;[33][105][114] The Ringer's Nathan Hubbard deemed it Swift's most controversial release since Reputation (2017).[115] Journalists from The New York Times[116] and Vox attributed this phenomenon to Swift's heightened fame and associated media "overexposure" in 2020–2024, including eight album releases, the influential Eras Tour, and the relationship with Travis Kelce.[14] Paste's anonymous review was singled out by other publications as "scathing";[105][117] Sumnima Kandangwa of the South China Morning Post opined that they hid their reviewer's identity because Swifties "can become quite spirited when it comes to protecting their favourite singer".[118] Swift shared the album's positive reviews on her social media, tagging the respective authors; some considered it a response to Paste and other unfavorable reviews.[119][120]

Some media publications opined that the initial reviews demonstrated a flawed approach of mainstream music criticism.[14][121][122] Bloomberg News' Jessica Karl wrote that the "lengthy" duration of the album made the reviewers "[stay] up until dawn to finish listening to an album" to publish, contributing to some reviews that were hasty, highlighting both the poor review by Paste and the "instant classic" review by Rolling Stone.[121] In The Ringer, Nora Princiotti attributed the polarizing reviews to the unexpected double album release, and Nathan Hubbard argued that some "cooler-than-thou" critics from sites like The New Yorker, The New York Times, and Paste used Swift's billionaire status to downplay the personal issues she detailed in the album.[115] Karl pointed to the fact that some "reputable publications" catered gossip instead of a serious artistic analysis,[121] while The New Yorker's Sinéad O'Sullivan compared Swift's albums to the Marvel Cinematic Universe for containing multiple layers of "lore", writing that the unfavorable reviews were due to either that critics did not take into account the "lore" portrayed in the album or that they did not allot enough listening time.[123]

Some early critics of the album recanted and declared they were "hasty" in reviewing it, as per Slate's Chris Molanphy, who opined it has become a "widely agreed point" in later critical commentary that The Tortured Poets Department "grows on you" after more listens; Molanphy stated he liked the album better than he did a week before.[124] CNN's Oliver Darcy admitted he judged The Tortured Poets Department quickly, stating that he reviewed it keeping in the mind its mixed critical reception, and found the album overlong and unimpressive in agreement with other critics, but a week later, "after spending more time with the two-hour sonic feast, more methodically touring through its subtleties and nuances, I am ready to declare that it is one of Swift's best works yet." Darcy opined that the album cannot be fully digested at "the speed of TikTok", and criticized reviewers who do not let music albums "marinate" and instead expect "instant satisfaction".[122]

Commercial performance

The Tortured Poets Department broke numerous streaming records. On Spotify, it became the album with the most number of pre-saves; the most streamed album in a single day by surpassing 200 million and then 300 million streams, breaking the all-time record previously held by Swift's Midnights; and the fastest album to accumulate one billion streams in a single week, doing so in five days.[125][126] The album also became the most streamed album in a single day on Amazon Music[127] and the most streamed pop album in a single day on Apple Music.[125] It amassed 1.76 billion streams globally within its first week of availability, registering an all-time record.[128] Republic Records reported global first-week consumption of four million units.[106]

In the United States, according to Billboard, the album accumulated 1.6 million album-equivalent units in four days,[129] selling 700,000 vinyl LPs to break the record for the highest single-week vinyl sales previously held by Swift's 1989 (Taylor's Version) (2023).[125] It broke the single-week streaming record previously held by Drake's Scorpion (2018), amassing 799 million on-demand streams in six days.[125] After a full week of availability, The Tortured Poets Department debuted atop the Billboard 200 with 2.61 million units, including 1.914 million pure copies and 891.34 million on-demand streams. It became Swift's 14th number-one album, tying her with Jay-Z for the most chart toppers among soloists. The album also registered the second-largest week by overall units and the third-largest week by pure sales in Billboard history.[130] In its second week atop the Billboard 200, The Tortured Poets Department registered 439,000 units, the biggest second-week tally since Adele's 25 (2015).[131] All 31 songs from The Anthology debuted on the Billboard Hot 100, occupying the entire top 14 simultaneously for the first time in chart history. Swift set the record for most simultaneous entries by a female artist (32) and became the first woman to surpass 50 career top-10 songs.[132]

The Tortured Poets Department broke chart records elsewhere. In Germany, it recorded the largest streaming day for an album and debuted atop the chart with the highest sales week for a solo artist in seven years.[133] In the United Kingdom, it became the fastest-selling album by any artist in seven years and by a non-British artist in 18 years, selling 270,000 units in its first week. As Swift's 12th number-one album on the UK Albums Chart, it tied her with Madonna for the most chart-toppers among female artists.[134] It became the United Kingdom's fastest-selling vinyl album since 1994, surpassing the previous record held by Midnights.[135] On the Australian ARIA Charts, The Tortured Poets Department became Swift's 13th number-one album, a record among female artists; its songs set records for the most simultaneous entries by a single artist in the top 10 (10), top 50 (29), and top 100 (31) of the singles chart.[136] Debuting atop the Canadian Albums Chart as Swift's 14th consecutive chart topper, the album registered the highest single-week vinyl sales and streaming figures in chart history.[137]

Track listing

The Tortured Poets Department track listing
No.TitleWriter(s)Producer(s)Length
1."Fortnight" (featuring Post Malone)
3:48
2."The Tortured Poets Department"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
4:53
3."My Boy Only Breaks His Favorite Toys"Swift
  • Swift
  • Antonoff
3:23
4."Down Bad"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
4:21
5."So Long, London"
  • Swift
  • Dessner
4:22
6."But Daddy I Love Him"
  • Swift
  • Dessner
  • Swift
  • Dessner
  • Antonoff
5:40
7."Fresh Out the Slammer"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:30
8."Florida!!!" (featuring Florence and the Machine)
  • Swift
  • Antonoff
3:35
9."Guilty as Sin?"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
4:14
10."Who's Afraid of Little Old Me?"Swift
  • Swift
  • Antonoff
5:34
11."I Can Fix Him (No Really I Can)"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
2:36
12."Loml"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:37
13."I Can Do It with a Broken Heart"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:38
14."The Smallest Man Who Ever Lived"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:05
15."The Alchemy"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:16
16."Clara Bow"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:36
Total length:65:08
The Tortured Poets Department: The Anthology extended track listing
No.TitleWriter(s)Producer(s)Length
17."The Black Dog"Swift
  • Swift
  • Antonoff
3:58
18."Imgonnagetyouback"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:42
19."The Albatross"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:03
20."Chloe or Sam or Sophia or Marcus"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:33
21."How Did It End?"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:58
22."So High School"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:48
23."I Hate It Here"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:03
24."Thank You Aimee"
  • Swift
  • Dessner
  • Swift
  • Dessner
  • Antonoff
4:23
25."I Look in People's Windows"
  • Swift
  • Antonoff
  • Patrik Berger
  • Swift
  • Antonoff
  • Berger
2:11
26."The Prophecy"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:09
27."Cassandra"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:00
28."Peter"Swift
  • Swift
  • Dessner
4:43
29."The Bolter"
  • Swift
  • Dessner
  • Swift
  • Dessner
3:58
30."Robin"
  • Swift
  • Dessner
  • Swift
  • Dessner
4:00
31."The Manuscript"Swift
  • Swift
  • Dessner
3:44
Total length:122:21

Notes

  • ^[a] signifies a vocal producer
  • "Loml" and "Imgonnagetyouback" are stylized in all lowercase.
  • "Thank You Aimee" is stylized as "thanK you aIMee".
  • Physical editions of the standard album include either "The Black Dog", "The Albatross", "The Bolter" or "The Manuscript" as a bonus track.
  • An acoustic version of "But Daddy I Love Him" was included in a limited-time CD edition of the standard album.[138]

Personnel

Musicians

  • Taylor Swift – vocals (all tracks), piano (tracks 3, 17), background vocals (17)
  • Jack Antonoff – synthesizer (tracks 1–4, 6–11, 13, 15, 17, 18, 25), programming (1–4, 6–11, 13, 15, 17, 18, 24, 25), drums (1, 3, 4, 7–10, 13, 15, 17, 18, 24), electric guitar (1, 3, 6–11, 15, 17, 24), acoustic guitar (1, 6–9, 11, 17, 18, 25), piano (2, 4, 8, 10, 13, 17, 18), cello (2, 6, 8, 10, 15, 17, 24, 25), background vocals (2, 6, 15, 24), bass (3, 6, 8–11, 17), percussion (4, 7, 9, 11, 13, 15, 18, 24), Mellotron (6, 8, 10, 11, 17), organ (7), Rhodes (17), keyboards (18)
  • Sean Hutchinson – drums (1, 6, 10, 15, 17), percussion (4)
  • Post Malone – vocals (track 1)
  • Mikey Freedom Hart – acoustic guitar, bass, electric guitar, Hammond B3 (track 2); Mellotron (3), synthesizer (4, 6, 10), percussion (10)
  • Evan Smith – synthesizer (tracks 2, 6, 10), saxophone (4)
  • Zem Audu – synthesizer (tracks 2, 6, 10), saxophone (4)
  • Michael Riddleberger – drums (track 2), percussion (10)
  • Aaron Dessner – piano (tracks 5, 10, 12, 16, 19–23, 26–31), synthesizer (5, 12, 14, 16, 19–24, 26–28, 30, 31), drum programming (5, 14, 16, 19–24, 26, 28–30), electric guitar (5, 14, 19–23, 26, 27, 29, 30), acoustic guitar (6, 19, 20, 23, 24, 26, 29), keyboards (12, 19–22, 24, 26–28, 30), bass (14, 16, 20, 22, 28–30), percussion (16, 19, 20, 22–24, 26, 27, 29, 30), mandolin (20, 23, 24), synth bass (21, 22, 24, 27, 31), banjo (23, 24), drums (30)
  • Benjamin Lanz – synthesizer (tracks 5, 19–23, 27, 30), trombone (20, 22, 27), sequencer (22)
  • Bobby Hawk – strings (tracks 6, 9, 17)
  • Emily Jean Stone – oddities (track 8)
  • Florence Welch – vocals, drums, percussion, piano (track 8)
  • Glenn Kotche – drums, percussion (tracks 12, 16, 19–21, 23, 24, 26, 29, 30); snare drum, vibraphone (27)
  • Oli Jacobs – background vocals, percussion, spoken word (track 13)
  • James McAlister – synthesizer (tracks 14, 16, 21–23, 26, 27, 30), percussion (14, 16, 23, 26, 27, 29, 30), drums (14, 21, 22), electric guitar (14, 22), keyboards (16, 21, 26, 27), drum programming (19, 22, 26, 27, 31); acoustic guitar, synth bass (23); zither (26)
  • Rob Moose – viola, violin (tracks 14, 20)
  • Jason Slota – percussion (track 14)
  • Abi Hyde-Smith – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Brian O'Kane – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Max Ruisi – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Reinoud Ford – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Robert Ames – conductor (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Chris Kelly – double bass (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Dave Brown – double bass (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Sophie Roper – double bass (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Elisa Bergersen – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Matthew Kettle – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Morgan Goff – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Nicholas Bootiman – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Akiko Ishikawa – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Cara Laskaris – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Iona Allan – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Kirsty Mangan – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Nicole Crespo O'Donoghue – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Ronald Long – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Sophie Mather – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Dan Oates – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
  • Eloisa-Fleur Thorn – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
  • Emily Holland – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
  • Anna de Bruin – violin (tracks 16, 19, 23, 24, 26, 27, 29–31)
  • Galya Bisengalieva – violin (tracks 16, 19, 21, 24, 26, 30)
  • Agata Daraskaite – violin (tracks 16, 19, 26, 27, 30)
  • Julian Azkoul – violin (tracks 16, 19, 26, 27, 30)
  • Amy Swain – viola (tracks 16, 19, 26, 27, 30)
  • J.T. Bates – drums (tracks 16, 20, 21, 26)
  • Thomas Barlett – synthesizer (tracks 16, 21, 23, 24, 26, 29–31); keyboards, piano (16, 21, 23, 24, 26, 29, 30)
  • Marianne Haynes – violin (tracks 16, 21, 23, 24, 29–31)
  • Jack Manning – piano (track 18)
  • George Barton – percussion (tracks 19, 23, 24, 26, 27, 31), timpani (30)
  • David McQueen – French horn (tracks 21, 23, 24, 26, 27, 29–31)
  • Alicia Berendse – violin (tracks 21, 24, 29–31)
  • Meghan Cassidy – viola (tracks 23, 29, 31)
  • Natasha Humphries – violin (tracks 23, 29, 31)
  • Jonathan Farey – French horn (tracks 24, 26, 27, 29–31)
  • Paul Cott – French horn (tracks 24, 26, 27, 29–31)
  • Patrik Berger – acoustic guitar (track 25)
  • Max Welford – bass clarinet (tracks 26, 29)
  • Vicky Lester – harp (track 30)
  • Bryce Dessner – drum programming, piano, synthesizer (track 31)

Technical

  • Randy Merrill – mastering
  • Ryan Smith – mastering
  • Serban Ghenea – mixing
  • Bryce Bordone – mix engineering
  • Laura Sisk – engineering (tracks 1–4, 6–11, 13, 15, 17, 18, 24, 25), vocal engineering (7, 9, 11, 12, 14, 15)
  • Oli Jacobs – engineering (tracks 1–4, 6–11, 13, 15, 17, 18, 24, 25)
  • Sean Hutchinson – engineering (tracks 1, 2, 4, 6, 10, 15, 17)
  • Michael Riddleberger – engineering (tracks 1, 2, 4, 6, 10, 17)
  • David Hart – engineering (tracks 2, 6, 10)
  • Evan Smith – engineering (tracks 2, 6, 10)
  • Mikey Freedom Hart – engineering (tracks 2, 6, 10)
  • Zem Audu – engineering (tracks 2, 6, 10)
  • Bella Blasko – engineering (tracks 5, 6, 10, 11, 14, 27, 28, 31), additional engineering (16, 19–24, 26, 29, 30)
  • Jonathan Low – engineering (tracks 5, 6, 10, 11, 16, 19–24, 26–30)
  • Aaron Dessner – engineering (tracks 5, 14)
  • Benjamin Lanz – engineering (tracks 5, 19, 20, 22, 23, 26, 27, 30)
  • Ben Loveland – engineering (track 8)
  • Joey Miller – engineering (track 10), engineering assistance (13)
  • James McAlister – engineering (tracks 14, 16, 19, 21–23, 26, 27, 29, 30)
  • Rob Moose – engineering, recording arrangement (track 14)
  • Jeremy Murphy – engineering (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
  • Thomas Bartlett – engineering (tracks 16, 21, 23, 24, 26, 29, 30)
  • Maryam Qudus – engineering (tracks 20, 23, 24, 30)
  • Jack Antonoff – engineering (track 24)
  • Pat Burns – engineering (track 27)
  • Louis Bell – vocal engineering (track 1)
  • Christopher Rowe – vocal engineering (tracks 7, 9, 11, 12, 15, 20)
  • Beau Sorenson – additional engineering (track 14)
  • Bryce Dessner – recording arrangement (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
  • Jack Manning – engineering assistance (tracks 1–4, 6–11, 13, 15, 17, 18, 25)
  • Jon Sher – engineering assistance (tracks 1–4, 6–11, 13, 15 17, 18, 25)
  • Lauren Marquez – engineering assistance (tracks 1, 13)
  • Jesse Snider – engineering assistance (tracks 7, 8, 10)
  • Joe Caldwell – engineering assistance (tracks 10, 13, 18, 24)
  • Rḗmy Dumelz – engineering assistance (track 11)
  • Laura Beck – engineering assistance (tracks 16, 19, 21, 23–27, 29–31)

Charts

Certifications

Certifications for The Tortured Poets Department
Region Certification Certified units/sales
Denmark (IFPI Danmark)[170] Gold 10,000‡
France (SNEP)[171] Gold 50,000‡
Germany (BVMI)[172] Gold 75,000‡
Italy (FIMI)[173] Gold 25,000‡
New Zealand (RMNZ)[174] Platinum 15,000‡
Poland (ZPAV)[175] Gold 10,000‡
Spain (PROMUSICAE)[176] Platinum 40,000‡
United Kingdom (BPI)[177] Platinum 300,000‡

‡ Sales+streaming figures based on certification alone.

Release history

The Tortured Poets Department release history
Region Date Format(s) Edition(s) Label Ref.
Various April 19, 2024
  • Standard
 Republic [178]
  • The Black Dog
  • The Albatross
  • The Bolter
  • The Manuscript
  • Digital download
  • streaming
 The Anthology [179]
United States
  • CD
  • vinyl LP
[180][181]
Japan April 20, 2024 CD The Manuscript Universal Japan [182][183]
United States May 8, 2024 "But Daddy I Love Him" acoustic bonus track Republic [138]
Japan May 17, 2024
  • The Black Dog
  • The Albatross
  • The Bolter
 Universal Japan [183]

Notes

  1. ^ Stylized in all caps, also shortened to Tortured Poets or abbreviated as TTPD colloquially.
  2. ^ As discussed by Variety's Chris Willman,[30] NME's Laura Molloy,[46] and The Daily Telegraph's Neil McCormick[44]
  3. ^ As discussed by NPR's Ann Powers,[40] the New Statesman's Anna Leszkiewicz,[36] the Irish Independent's John Meagher,[47] Pitchfork's Olivia Horn,[48] and Consequence's Mary Siroky[49]
  4. ^ As discussed by Slant Magazine's Jonathan Keefe,[50] Sputnikmusic's Hugh G. Puddles,[51] and PopMatters's Jeffrey Davies[52]
  5. ^ As discussed by The Guardian's Alexis Petridis and Laura Snapes,[53][54] the BBC's Mark Savage,[37] and Rolling Stone's Rob Sheffield[28]
  6. ^ As discussed by the BBC's Mark Savage,[37] The A.V. Club's Mary Kate Carr,[63] The New Yorker's Tyler Foggart,[59] and Exclaim!'s Alex Hudson.[62]
  7. ^ According to Metacritic, the standard edition received a score of 76/100, while The Anthology volume received a score of 69/100.[99][100]
  8. ^ Neil McCormick from The Daily Telegraph rated the standard edition and The Anthology volume each with a 4/5 rating.[44]
  9. ^ Pitchfork critics rated the standard edition 6.6/10 and The Anthology volume 6.0/10.[48]
  10. ^ Rob Sheffield from Rolling Stone rated the standard edition 5/5[28] and The Anthology volume 4/5.[61]

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  178. ^ The Tortured Poets Department release formats:
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  183. ^ a b The Tortured Poets Department Japanese versions:
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