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The Tortured Poets Department (stylized as THE TORTURED POETS DEPARTMENT)[1][note 1] 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 two hours after its 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 during the Eras Tour in 2023. She conceived The Tortured Poets Department as an imperative songwriting project amidst the heightened fame and media scrutiny ensuing from the tour. The songs introspect on her public and private lives, detailing tumult and sorrow via motifs of self-awareness, mourning, anger, humor, and delusion. Produced with Jack Antonoff and Aaron Dessner, the album is a minimalist synth-pop, 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, whereas the visual aesthetic draws mainly from dark academia.

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.

Although the majority of reviews were positive, praising Swift's cathartic songwriting for its emotional resonance and wit, The Tortured Poets Department polarized critics upon release, with some finding it overlong and lacking profundity. Subsequent assessments appreciated the album's musical and lyrical nuances that emerged upon further listens, and disputed the credibility of the initial critique for focusing on Swift's public image rather than artistic merit. Swift included songs from the album in the revamped set list of the Eras Tour, starting in May 2024.

Background[]

Swift released her tenth studio album, Midnights, on October 21, 2022, to critical praise and commercial success.[2][3] In 2023, she released two re-recorded albums, Speak Now (Taylor's Version) and 1989 (Taylor's Version), as part of her "Taylor's Version" re-recording project after a dispute over the ownership of her first six studio albums.[4][5] Both re-recordings were released amidst Swift's sixth headlining concert tour, the Eras Tour.[6][7] Soon before the 66th Annual Grammy Awards, Swift's website appeared to crash, showing the fake error code. There was also a string of nonsense letters that were an anagram of the phrase "Red Herring".

During her acceptance speech at for the 66th Grammy Awards for Best Pop Vocal Album for her tenth studio album, Midnights (2022), she announced The Tortured Poets Department as a new original studio album that she had worked on since 2022.[8] This announcement was met with surprise from her fans, who had anticipated her to announce the re-recording of her 2017 album, Reputation, based on her social media clues.[9][10]

Swift 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.[11] While she was creating the album, her dating life continued to be a widely covered topic in the press, who reported on Swift's relationships with Joe Alwyn, Matty Healy, and Travis Kelce.[12][13] At the Eras Tour concerts in Melbourne in February 2024, Swift said that The Tortured Poets Department was a "lifeline" for her and an album that she "really needed" to make,[14] reflecting on how it made her confirm that songwriting was an integral part of her life.[15] In an Instagram post, Swift described 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]

Promotion[]

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.[17] The cover artwork, photographed by 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,[18][19][20] from the Row and Yves Saint Laurent.[19][21] Both the artwork and title were parodied by numerous brands, organizations, sports teams, and franchises, and inspired numerous memes.[22][23][24] Media outlets described the album's visual aesthetic as gothic, especially dark academia.[25][26][27][28]

After the Grammy announcement, Swift revealed the standard track listing via social media on February 6, 2024.[29] Swift announced four physical editions that were each titled after a corresponding bonus track: "The Manuscript", "The Bolter", "The Albatross", and "The Black Dog"; she announced the latter three editions during the Australian and Singaporean shows of the Eras Tour.[30] She partnered with Target for an exclusive "Phantom Clear" collector's vinyl edition.[31]

The album was promoted on digital platforms like Apple Music, Spotify, YouTube, Instagram, and Threads, prompting Swifties to search for Easter eggs.[32] It included five Swift-curated Apple Music playlists containing her old songs inspired by the five stages of grief;[33] a pop-up library of curated articles at The Grove, Los Angeles, hosted by Spotify;[34] QR code murals in various cities worldwide that lead to unlisted YouTube shorts on Swift's channel;[35][36] 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.[37] iHeartRadio and Sirius XM announced special programs with exclusive content from Swift to celebrate the album's release; the latter temporarily rebranded as "iHeartTaylor".[38][39]

The Tortured Poets Department was released on April 19, 2024, along with Swift's poem "In Summation". A double album edition, subtitled The Anthology and containing 15 bonus tracks, was surprise-released digitally two hours later.[40] Two days earlier, the standard edition of the album was leaked,[41] which resulted in the phrase "Taylor Swift leak" being temporarily banned from searches on the social media platform X (formerly Twitter).[42] The Tortured Poets Department was available in 19 physical variants—nine CD, six vinyl, and four cassette variants, with deluxe CDs and cassettes being exclusive to Swift's official website.[43] Physical copies of the album included an original poem by the American singer-songwriter Stevie Nicks, "For T … and Me".[44]

From May 2024, starting with the Paris shows, Swift revamped the set list of the Eras Tour to include songs from The Tortured Poets Department in a new act, in which she informally described as "Female Rage the Musical".[45][46][note 2]

Swift subsequently released the live versions as bonus tracks on the physical album via her website exclusively to US customers.[50] Other limited CD editions included an acoustic version of either "But Daddy I Love Him",[51] "Fortnight",[52] "Fresh Out the Slammer",[53] "Down Bad", or "Guilty as Sin?".[54] Limited digital variants contained the first draft phone demo recordings of either "The Black Dog", "Cassandra", or "Who's Afraid of Little Old Me?",[55]; the Eras Tour live recordings of either "Loml", "My Boy Only Breaks His Favorite Toys", or "The Alchemy" / "Treacherous" from the Paris shows; or the Eras Tour live recordings of either "Guilty as Sin?", "Peter", or "How Did It End?" from the Stockholm shows.[56][57] The release of limited-edition bonus-track versions was a way for Swift and her fans to maintain the album's number-one position on the charts, a method Swift and other artists have previously utilized to boost album sales and chart positions.[58][59][60][61]

On October 15, 2024, Swift announced that The Anthology vinyls and CDs will be available at Target on Nov 29, with four more acoustic tracks that are currently unknown.

Each variant of The Tortured Poets Department in order of release:

  1. "The Manuscript" edition
  2. "The Bolter" edition
  3. "The Albatross" edition
  4. "The Black Dog" edition
  5. The Anthology
  6. "But Daddy I Love Him" (Acoustic Version)
  7. "Who's Afraid Of Little Old Me?" (First Draft Phone Memo)
  8. "Cassandra" (First Draft Phone Memo)
  9. "The Black Dog" (First Draft Phone Memo)
  10. "loml (Live From Paris)"
  11. "My Boy Only Breaks His Favorite Toys (Live From Paris)"
  12. "The Alchemy X Treacherous Mashup (Live From Paris)"
  13. "Down Bad (Acoustic Version)"
  14. "Guilty As Sin? (Acoustic Version)"
  15. "Fortnight (Acoustic Version)"
  16. "Fresh Out The Slammer (Acoustic Version)"
  17. "Guilty As Sin? (Live From Stockholm)"
  18. "How Did It End? (Live From Stockholm)"
  19. "Peter (Live From Stockholm)"
  20. "My Boy Only Breaks His Favorite Toys (First Draft Phone Memo)"
  21. "thanK you aIMee (Mean - Live From London)"
  22. "The Albatross (Dancing With Our Hands Tied - Live From Dublin)"
  23. "The Bolter (Getaway Car - Live From Edinburgh)"
  24. "I Hate It Here (The Lakes - Live From Cardiff)"
  25. "The Prophecy (long story short - Live From Lyon)"

Singles[]

"Fortnight" remixes[]

"I Can Do It With a Broken Heart" remixes[]

"Fortnight" was released as the lead single in conjunction with the album, accompanied by a music video.[66] Universal Music released "I Can Do It with a Broken Heart" to Italian radio on July 2.[67]

Commercial performance[]

The Tortured Poets Department broke numerous consumption records, leading The Guardian to comment that it "cemented Swift as the biggest pop star this century by many metrics".[68] On Spotify, it became the most pre-saved album of all time; the most streamed album in a single day, surpassing 200 million and then 300 million streams and breaking the all-time record previously held by Swift's Midnights; and the first album to accumulate one billion streams in a single week, doing so in five days.[69][70] The album also became the most streamed album in a single day on Amazon Music[71] and the most streamed pop album in a single day on Apple Music.[69] It amassed 1.76 billion streams globally within its first week of availability, an all-time record.[72] Republic Records reported global first-week consumption of four million units.[73]

In the United States, the album accumulated 1.6 million album-equivalent units in four days,[74] 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).[69] It broke the single-week streaming record previously held by Drake's Scorpion (2018), amassing 799 million on-demand streams in six days.[69] 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.[43]

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.[75] The album spent 12 consecutive weeks at number one on the Billboard 200, becoming the first female album to do so and the longest-charting number one album in Swift's career;[76] it is the fifth album in history to spend its first 10 weeks atop the chart.[77][note 3] By July 2024, The Tortured Poets Department has sold 2.47 million pure sales and accumulated 4.66 million units in the United States.[78] Sales were boosted by multiple variants of the album, with double-digit variants in digital and CD mediums.[79] 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, and it tied Swift with Madonna for the most female number-one albums on the UK Albums Chart (12).[80] It became the fastest-selling vinyl album since 1994 and Swift's album with the most weeks at number one (8).[81][82] 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.[83] 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.[84] Ten tracks from the album debuted on the Billboard Brasil Hot 100.[85]

Critical reception[]

The Tortured Poets Department ratings
Aggregate scores
Source Rating
Metacritic 76/100[note 4]
Review scores
Source Rating
AllMusic 3/5 starsStar fullStar fullStar emptyStar empty[88]
Clash 8/10[89]
The Daily Telegraph 4/5 starsStar fullStar fullStar fullStar empty[note 5]
The Guardian 4/5 starsStar fullStar fullStar fullStar empty[91]
The Independent 5/5 starsStar fullStar fullStar fullStar full[92]
NME 3/5 starsStar fullStar fullStar emptyStar empty[93]
Pitchfork 6.6/10[note 6]
Rolling Stone 5/5 starsStar fullStar fullStar fullStar full[note 7]
Slant Magazine 3Star fullStar fullStar halfStar empty[97]
The Times 5/5 starsStar fullStar fullStar fullStar full[98]

Publications described the critical consensus upon release as positive[99][73] or mixed.[100] [86] Its second part, The Anthology, scored 69 from six critic scores.[87]

A number of critics regarded the album a landmark in Swift's discography. Reviews from The Independent's Helen Brown,[92] The Arts Desk's Ellie Roberts,[101] The Times Dan Cairns,[98] PopMatters' Jeffrey Davies,[102] 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.[103] Others, including Variety's Chris Willman,[104] the i's Ed Power,[25] and The Observer's Kitty Empire, called it a quintessential Swift album.[105]

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.[106] 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.[107] 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.[91][108] 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."[94] Others, such as The New York Times Lindsay Zoladz, Slant Magazines 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".[109][97][110]The tumultuous mood and unconstrained emotion of the lyrics were also highlighted. Multiple reviews complimented the album's heavy, unfiltered emotion;[25][111][104][112] Clash's Lauren Webb described it as "a spell-binding, toxic, chaotic illustration" of deteriorating mental sanity.[89] 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".[113] In a similar perspective, rave reviews from Rolling Stones Rob Sheffield and Variety's Chris Willman described the album as Swift's "gloriously chaotic" and "audacious, transfixing" project, respectively.[95][104] To Willman, the album combines "cleverness with catharsis".[104] Consequences 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.[114]

Many critics, including Zoladz,[109] NMEs Laura Molloy,[93] and Stereogums 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.[115][116] The New Yorker's Amanda Petrusich rather favored Dessner's input to the album as "gentler, more tender, and more surprising".[117] Horn and the BBC's Mark Savage felt the melodies were sonically monotonous and "staid",[118][94] but others argued that the minimalistic approach complemented Swift's hyper-personal lyrics;[97][105][91] Hopper opined that "Swift's confidence as an artist is at a peak" with The Tortured Poets Department.[108] 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;[119] this idea was also shared by an anonymous, negative Paste review that criticized the album as rushed, hollow, and unrelatable.[120]

Post-review commentary[]

Various peer journalists and columnists cross-examined the album's critical reception. Publications considered The Tortured Poets Department a polarizing album;[121][99][122] The Ringer's Nathan Hubbard deemed it Swift's most controversial release since Reputation (2017).[123] Journalists from The New York Times[124] and Vox attributed this phenomenon to Swift's heightened fame and associated media "overexposure" between 2020 and 2024, including eight album releases, the influential Eras Tour, and her relationship with Travis Kelce.[13] Paste's anonymous review was singled out by other publications as "scathing";[99][125] 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".[126] The album's Pitchfork score is Swift's lowest from the website. Sputnikmusic published reviews with three different ratings in a short period of time, each lower than the one before; Minh Anh of L'Officiel found this to be a confusing way to rate music.[127] Swift shared the album's positive reviews on her social media, tagging the respective authors, which some considered as a response to Paste and other unfavorable reviews.[128][129]

A number of commentators opined that the initial reviews demonstrated a flawed approach of mainstream music criticism.[13][130][131] 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, criticizing both the "exclamation-pointed digs" at Swift in Paste and the "instant classic" review by Rolling Stone.[130] 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.[123] Karl opined that some "reputable publications" catered gossip instead of a serious artistic analysis,[130] while Anh highlighted that reviews mentioned aspects of Swift's public image instead of focusing on the music.[127] The New Yorker's Sinéad O'Sullivan asserted that Swift's albums contain multiple layers of self-referential "lore", writing that the unfavorable reviews were due to critics not taking that into account or not allotting enough listening time.[132]

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.[133] CNN's Oliver Darcy said he had 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".[131]

Track listing[]

Standard edition
No.TitleWriter(s)Producer(s)Length
1."Fortnight" (featuring Post Malone)Taylor Swift • Jack Antonoff • Austin PostSwift • Antonoff3:48
2."The Tortured Poets Department"Swift • AntonoffSwift • Antonoff4:53
3."My Boy Only Breaks His Favorite Toys"SwiftSwift • Antonoff3:23
4."Down Bad"Swift • AntonoffSwift • Antonoff4:21
5."So Long, London"Swift • Aaron DessnerSwift • Dessner4:22
6."But Daddy I Love Him"Swift • DessnerSwift • Dessner • Antonoff5:40
7."Fresh Out The Slammer"Swift • AntonoffSwift • Antonoff3:30
8."Florida!!!" (featuring Florence + The Machine)Swift • Florence WelchSwift • Antonoff3:35
9."Guilty as Sin?"Swift • AntonoffSwift • Antonoff4:14
10."Who's Afraid of Little Old Me?"SwiftSwift • Antonoff5:34
11."I Can Fix Him (No Really I Can)"Swift • AntonoffSwift • Antonoff2:36
12."loml"Swift • DessnerSwift • Dessner4:37
13."I Can Do It With a Broken Heart"Swift • AntonoffSwift • Antonoff3:38
14."The Smallest Man Who Ever Lived"Swift • DessnerSwift • Dessner4:05
15."The Alchemy"Swift • AntonoffSwift • Antonoff3:16
16."Clara Bow"Swift • DessnerSwift • Dessner3:36
Total length:65:08
The Anthology
No.TitleWriter(s)Producer(s)Length
17."The Black Dog"SwiftSwift · Antonoff3:58
18."imgonnagetyouback"Swift · AntonoffSwift · Antonoff3:42
19."The Albatross"Swift · DessnerSwift · Dessner3:03
20."Chloe or Sam or Sophia or Marcus"Swift · DessnerSwift · Dessner3:33
21."How Did It End?"Swift · DessnerSwift · Dessner3:58
22."So High School"Swift · DessnerSwift · Dessner3:48
23."I Hate It Here"Swift · DessnerSwift · Dessner4:03
24."thanK you aIMee"Swift · DessnerSwift · Dessner · Antonoff4:23
25."I Look in People's Windows"Swift · Antonoff · Patrik BergerSwift · Antonoff · Berger2:11
26."The Prophecy"Swift · DessnerSwift · Dessner4:09
27."Cassandra"Swift · DessnerSwift · Dessner4:00
28."Peter"SwiftSwift · Dessner4:43
29."The Bolter"Swift · DessnerSwift · Dessner3:58
30."Robin"Swift · DessnerSwift · Dessner4:00
31."The Manuscript"SwiftSwift · Dessner3:44
Total length:122:25
"The Manuscript" Deluxe edition (bonus track)
No.TitleWriter(s)Producer(s)Length
17."The Manuscript"SwiftSwift · Dessner3:44
Total length:68:52
"The Bolter" Deluxe edition (bonus track)
No.TitleWriter(s)Producer(s)Length
17."The Bolter"Swift · DessnerSwift · Dessner3:58
Total length:69:06
"The Albatross" Deluxe edition (bonus track)
No.TitleWriter(s)Producer(s)Length
17."The Albatross"Swift · DessnerSwift · Dessner3:03
Total length:68:11
"The Black Dog" Deluxe edition (bonus track)
No.TitleWriter(s)Producer(s)Length
17."The Black Dog"SwiftSwift · Antonoff3:58
Total length:69:06
"But Daddy I Love Him (acoustic version)" Deluxe edition (bonus track)
No.TitleWriter(s)Producer(s)Length
17."But Daddy I Love Him" (acoustic version)Swift · DessnerSwift · Dessner · Antonoff5:38
Total length:70:46
Standard Digital Album + "Who's Afraid of Little Old Me?" (First Draft Phone Memo)
No.TitleWriter(s)Length
17."Who's Afraid of Little Old Me?" (First Draft Phone Memo)Swift5:36
Total length:70:44
Standard Digital Album + "Cassandra" (First Draft Phone Memo)
No.TitleWriter(s)Length
17."Cassandra" (First Draft Phone Memo)Swift · Dessner4:38
Total length:69:46
Standard Digital Album + "The Black Dog" (First Draft Phone Memo)
No.TitleWriter(s)Length
17."The Black Dog" (First Draft Phone Memo)Swift4:11
Total length:69:19
Standard Digital Album + "loml" (Live From Paris)
No.TitleWriter(s)Length
17."loml" (Live From Paris)Swift · Dessner5:36
Total length:70:44
Standard Digital Album + "The Alchemy X Treacherous Mashup" (Live From Paris)
No.TitleWriter(s)Length
17."The Alchemy X Treacherous Mashup" (Live From Paris)Swift · Antonoff · Dan Wilson5:44
Total length:70:52
Standard Digital Album + "My Boy Only Breaks His Favorite Toys" (Live From Paris)
No.TitleWriter(s)Length
17."My Boy Only Breaks His Favorite Toys" (Live From Paris)Swift4:51
Total length:69:59
"Down Bad (acoustic version)" Deluxe edition (bonus track)
No.TitleWriter(s)Length
17."Down Bad" (acoustic version)Swift • Antonoff4:18
Total length:69:26
"Guilty as Sin? (acoustic version)" Deluxe edition (bonus track)
No.TitleWriter(s)Length
17."Guilty as Sin?" (acoustic version)Swift • Antonoff4:11
Total length:69:19
"Fortnight (acoustic version)" Deluxe edition (bonus track)
No.TitleWriter(s)Length
17."Fortnight" (acoustic version)Swift • Antonoff · Post3:49
Total length:68:57
"Fresh Out The Slammer (acoustic version)" Deluxe edition (bonus track)
No.TitleWriter(s)Length
17."Fresh Out The Slammer" (acoustic version)Swift • Antonoff3:22
Total length:68:30
Standard Digital Album + "How Did It End?" (Live From Stockholm)
No.TitleWriter(s)Length
17."How Did It End?" (Live From Stockholm)Swift4:07
Total length:69:15
Standard Digital Album + "Guilty as Sin?" (Live From Stockholm)
No.TitleWriter(s)Length
17."Guilty as Sin?" (Live From Stockholm)Swift4:26
Total length:69:34
Standard Digital Album + "Peter" (Live From Stockholm)
No.TitleWriter(s)Length
17."Peter" (Live From Stockholm)Swift4:34
Total length:69:42
Standard Digital Album + "My Boy Only Breaks His Favorite Toys" (First Draft Phone Memo)
No.TitleWriter(s)Length
17."My Boy Only Breaks His Favorite Toys" (First Draft Phone Memo)Swift3:11
Total length:68:19
Standard Digital Album + "thanK you aIMee" (Mean - Live From London)
No.TitleWriter(s)Length
17."thanK you aIMee (Mean)" (Live From London)Swift • Dessner5:50
Total length:70:58
Standard Digital Album + "The Albatross" (Dancing With Our Hands Tied - Live From Dublin)
No.TitleWriter(s)Length
17."The Albatross (Dancing With Our Hands Tied)" (Live From Dublin)Swift • Oscar Holter • Max MartinShellback5:27
Total length:70:35
Standard Digital Album + "The Bolter" (Getawar Car - Live From Edinburgh)
No.TitleWriter(s)Length
17."The Bolter (Getaway Car)" (Live From Edinburgh)Swift • Dessner5:08
Total length:70:16
Standard Digital Album + "I Hate It Here" (The Lakes - Live From Cardiff)
No.TitleWriter(s)Length
17."I Hate It Here (The Lakes)" (Live From Cardiff)Swift • Dessner • Antonoff5:23
Total length:70:31
Standard Digital Album + "The Prophecy" (Long Story Short - Live From Lyon)
No.TitleWriter(s)Length
17."The Prophecy (Long Story Short)" (Live From Lyon)Swift • Dessner5:04
Total length:70:12
TS The Eras Tour Setlist
No.TitleWriter(s)Producer(s)Length
1."But Daddy I Love Him"Swift • DessnerSwift • Dessner • Antonoff5:40
2."So High School"Swift • AaronSwift • Aaron3:48
3."Who's Afraid of Little Old Me?"SwiftSwift • Antonoff5:34
4."Down Bad"Swift • AntonoffSwift • Antonoff4:21
5."Fortnight" (featuring Post Malone)Swift • Antonoff • PostSwift • Antonoff3:48
6."The Smallest Man Who Ever Lived"Swift • DessnerSwift • Dessner4:05
7."I Can Do It With a Broken Heart"Swift • AntonoffSwift • Antonoff3:38
Total length:30:57

Outtakes[]

Each outtake listed is speculation based on sightings of the artists with Swift at Electric Lady Studios in New York City, New York. There is no evidence for these songs existing other than these sightings.

Spotify streams[]

Standard edition
No. Song Streams
1. Fortnight 715,917,606
2. The Tortured Poets Department 222,531,674
3. My Boy Only Breaks His Favorite Toys 259,526,190
4. Down Bad 347,277,721
5. So Long, London 275,344,942
6. But Daddy I Love Him 248,884,171
7. Fresh Out The Slammer 156,711,168
8. Florida!!! 219,425,988
9. Guilty as Sin? 315,550,869
10. Who's Afraid of Little Old Me? 281,073,103
11. I Can Fix Him (No Really I Can) 130,937,237
12. loml 197,444,446
13. I Can Do It With a Broken Heart 497,339,940
14. The Smallest Man Who Ever Lived 210,969,658
15. The Alchemy 173,005,507
16. Clara Bow 121,472,546
The Anthology
No. Song Streams
17. The Black Dog 131,156,400
18. imgonnagetyouback 150,557,812
19. The Albatross 97,981,404
20. Chloe or Sam or Sophia or Marcus 98,920,630
21. How Did It End? 126,406,380
22. So High School 193,506,396
23. I Hate It Here 105,635,477
24. thanK you aIMee 96,003,956
25. I Look in People's Windows 85,960,562
26. The Prophecy 145,196,923
27. Cassandra 83,216,621
28. Peter 98,947,507
29. The Bolter 93,992,289
30. Robin 60,761,150
31. The Manuscript 67,588,843
* Total streams 6,009,245,116

No. Song Streams
1. Fortnight 715,917,606
2. I Can Do It With a Broken Heart 497,339,940
3. Down Bad 347,277,721
4. Guilty as Sin? 315,550,869
5. Who's Afraid of Little Old Me? 281,073,103
6. So Long, London 275,344,942
7. My Boy Only Breaks His Favorite Toys 259,526,190
8. But Daddy I Love Him 248,884,171
9. The Tortured Poets Department 222,531,674
10. Florida!!! 219,425,988
11. The Smallest Man Who Ever Lived 210,969,658
12. loml 197,444,446
13. So High School 193,506,396
14. The Alchemy 173,005,507
15. Fresh Out The Slammer 156,711,168
16. imgonnagetyouback 150,557,812
17. The Prophecy 145,196,923
18. The Black Dog 131,156,400
19. I Can Fix Him (No Really I Can) 130,937,237
20. How Did It End? 126,406,380
21. Clara Bow 121,472,546
22. I Hate It Here 105,635,477
23. Peter 98,947,507
24. Chloe or Sam or Sophia or Marcus 98,920,630
25. The Albatross 97,981,404
26. thanK you aIMee 96,003,956
27. The Bolter 93,992,289
28. I Look in People's Windows 85,960,562
29. Cassandra 83,216,621
30. The Manuscript 67,588,843
31. Robin 60,761,150

Last Update: November 4, 2024

Physical copies[]

Booklet[]

Physical booklet ("The Manuscript" Collector's Edition Deluxe)[]

Physical booklet ("The Bolter" Collector's Edition Deluxe)[]

Physical booklet ("The Albatross" Collector's Edition Deluxe)[]

Physical booklet ("The Black Dog" Collector's Edition Deluxe)[]

Digital booklet ("But Daddy I Love Him" Acoustic Version)[]

Digital booklet ("Down Bad" Acoustic Version)[]

Digital booklet ("Guilty as Sin?" Acoustic Version)[]

Digital booklet ("Fortnight" Acoustic Version)[]

Digital booklet ("Fresh Out The Slammer" Acoustic Version)[]

Promotional[]

Gallery[]

Photoshoot[]

Recording[]

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)

Release history[]

The Tortured Poets Department release history
Region Date Format(s) Edition(s) Label
Various April 19, 2024 Digital download, streaming Standard Republic
CD, Cassette, vinyl LP The Black Dog, The Albatross, The Bolter, The Manuscript
Digital download, streaming The Anthology
United States CD, vinyl LP Target-exclusive
Japan April 20, 2024 CD The Manuscript Universal Japan
May 17, 2024 The Black Dog, The Albatross, The Bolter

Trivia[]

  • The Tortured Poets Department is Taylor's longest album title, with every other album title being one or two words, as well as the first album title stylized in all caps on streaming.[40][134]
  • The album debuted with 313 million first-day streams on Spotify, and it once again occupied the #1 to #14 spots on the Billboard Hot 100 Chart like Midnights.
  • This is Swift's fifth explicit album, following folklore, evermore, Red (Taylor's Version), and Midnights, with eleven songs being marked explicit: "The Tortured Poets Department", "Down Bad", "But Daddy I Love Him", "Florida!!!", "loml", "I Can Do It With a Broken Heart", "The Smallest Man Who Ever Lived", "The Black Dog", "thanK you aIMee", "Cassandra", and "The Bolter".[43]
  • Travis Kelce, Taylor's boyfriend, stated during Super Bowl Media Day in Las Vegas that he has listened to some songs from the album and thinks it's amazing.[135]
  • Taylor has referred to this album as simply "Tortured Poets".
  • "But Daddy I Love Him" is the longest track on the album, at 5 minutes and 40 seconds long.
  • "I Look in People's Windows" is the shortest track on the album, and is Taylor’s shortest song to date, at 2 minutes and 11 seconds long.
  • The full standard edition of album, including the bonus track "The Black Dog", leaked on April 17th.
  • The Anthology edition is Swift's album with the most tracks, at 31, and the second longest album after Red (Taylor's Version), at two hours and two minutes long.
  • TikTok made a Tortured Poets Department profile frame along with a animation that appears when searching topics related to Taylor Swift for a limited time.
  • The Tortured Poets Department is the album with the most names mentioned in the song titles and lyrics, with them all being: Jack (Antonoff), Lucy (Dacus), Ken, Sarah, Hannah, Dylan Thomas, Patti Smith, Charlie Puth, Clara Bow, Stevie Nicks, Taylor Swift, Chloe, Sam, Sophia, Marcus, Peter, Aimee, Cassandra, Robin, Peter, Jehovah and Aristotle.
  • This and Evermore are the only two albums to feature odd time signatures, with The Smallest Man Who Ever Lived being partially in 7/4 time.

References[]

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  134. The Tortured Poets Department on Apple Music
  135. Travis Kelce Heard Some of Taylor Swift’s New Album and Says ‘It’s Unbelievable’: ‘The Tortured Poets Department’ Will ‘Shake Up the World’

Notes[]

  1. Also shortened to Tortured Poets or abbreviated as TTPD
  2. The said concert technically took place in Nanterre, but a preponderance of media outlets reported the location as Paris.[47][48][49]
  3. After Morgan Wallen's One Thing at a Time (2023) and Dangerous: The Double Album (2021), Whitney Houston's Whitney (1987), and Stevie Wonder's Songs in the Key of Life (1976).
  4. According to Metacritic, the standard edition received a score of 76/100, while The Anthology volume received a score of 69/100.[86][87]
  5. Neil McCormick from The Daily Telegraph rated the standard edition and The Anthology volume each with a 4/5 rating.[90]
  6. Pitchfork critics rated the standard edition 6.6/10 and The Anthology volume 6.0/10.[94]
  7. Rob Sheffield from Rolling Stone rated the standard edition 5/5[95] and The Anthology volume 4/5.[96]
THE TORTURED POETS DEPARTMENT
"Fortnight" • "The Tortured Poets Department" • "My Boy Only Breaks His Favorite Toys" • "Down Bad" • "So Long, London" • "But Daddy I Love Him" • "Fresh Out The Slammer" • "Florida!!!" • "Guilty as Sin?" • "Who's Afraid of Little Old Me?" • "I Can Fix Him (No Really I Can)" • "loml" • "I Can Do It With a Broken Heart" • "The Smallest Man Who Ever Lived" • "The Alchemy" • "Clara Bow"
THE ANTHOLOGY
"The Black Dog" • "imgonnagetyouback" • "The Albatross" • "Chloe or Sam or Sophia or Marcus" • "How Did It End?" • "So High School" • "I Hate It Here" • "thanK you aIMee" • "I Look in People's Windows" • "The Prophecy" • "Cassandra" • "Peter" • "The Bolter" • "Robin" • "The Manuscript"
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