Taylor Swift's writing is better than it’s ever been on her latest album, because she’s finally writing love songs about herself
.” Elsewhere, she gives the type of pointed, searing detail she reserved for the ballads of her broken heart on happier, hopeful tunes. “Cornelia Street” takes us to a literal location, the place in New York City where Swift rents a home. “Windows swung right open, autumn air/Jacket ‘round my shoulders is yours/We bless the rains on Cornelia Street/Memorize the creaks in the floor,” she sings, taking back the tragedy-tinged fall recounted in “All Too Well.
“London Boy” takes Swift and her love affair across the Atlantic, where she walks Camden Market, watches rugby in pubs and now enjoys high tea. It’s as wide-eyed as “Welcome to New York,” but now there’s someone next to her. On “False God,” she returns to the East Coast: “And I can’t talk to you when you’re like this/Staring out the window like I’m not your favorite town/I’m New York City,” she sings alongside a mellifluous jazz solo.
For Swift, singing about love — real love — was a rite of passage. She needed to earn it, and after years of break-ups, make-ups, and countless classic ballads in between, she’s finally grasping what she’s long been reaching towards.is the sound of a songwriter writing the album she has always wanted to write. Like falling in love, it feels better than you imagined.
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