1989 (Taylor’s Version): An upbeat misstep in Swift’s canon
When pop icon Taylor Swift released her fifth studio album, 1989, in 2014, it cemented her status as a definitive pop star of the decade, while also assuring her status as a former country singer. Nearly a decade later, Swift has reprised her role as the red-lipsticked, party-going narrator of 1989 (Taylor’s Version), continuing her series of re-releases that started in 2021, with Fearless (Taylor’s Version). Unfortunately, though, this version of 1989 falls flat compared to her previous re-recordings.
1989’s sound is a swelter of synths, integrating both mid-2010s pop trends and Swift’s newly-adult girlish charm; she sings about the sweeping romance of previous albums just as easily as she chronicles partying until dawn. The album was mature and dense, even at its least serious. While the original tracklist within 1989 (Taylor’s Version) likely sounds identical to the casual listener, as a 1989 super-fan, I felt disappointed with the change in production from the original.
The magic of 1989 was its effortless bravado; tracks like “Blank Space” sold their absurdity because Swift believed in her pop-perfect irony. The song’s maniacal shift in the second verse—screaming, crying, perfect storms—was matched with Swift’s sudden key change from her traditional charming cadence to frightening chaos. In Taylor’s Version, the track feels less like a story and more like a slice of by-the-books pop, with Swift’s voice gently wading through ironic lyrics of lovestruck violence. Similarly, “Out of the Woods”—a song known for its tremendous bridge—falls flat in its most emotional moments, with its once-layered production suddenly sounding static and unenthused. Fan-favorite “New Romantics” suffers, too, with its snare beat completely overwhelming Swift’s vocals.
Unsurprisingly, there was indeed a change in production from the original version of 1989, with producer Max Martin—known for his work with fellow pop legend Britney Spears—being replaced with several other producers largely known for their work in country, folk, and soft pop; notably, longtime collaborators Jack Antonoff and Christopher Rowe. The result is a production style that feels deflated and lethargic compared to the glittering, symphonic melodrama of the original cut.
Strangely, Swift harbors some of her most distinctive vocal moments on the new record for her deep-cuts. “I Know Places” has never felt more realized, and the original album’s closing track, “Clean,” was one of the few to benefit from this hazy new production style, as its bubbly backtrack motif playfully interacts with Swift’s mellow storytelling.
As for the new material, these five tracks are a welcome addition to the Swift canon, though more is needed to make up for the disappointment of the sixteen previous tracks. “Slut!” raised eyebrows when the tracklist was initially released, but the final product is a surprisingly tender love song and critique of slut-shaming celebrity culture. “Say Don’t Go” is another standout, emulating the meandering pop melodies of original tracks like “I Wish You Would” and “All You Had To Do Was Stay” with the sincere lyricism of her first few albums.
As a long-time Swiftie, I can’t help but feel disappointed at the lackluster result of one of my favorite Taylor Swift albums. Though I may be nitpicking minor production flaws, albums as beloved and significant to Swift’s canon as 1989 deserve thorough treatment and respectable replication. With Reputation (Taylor’s Version) likely on the horizon, I hope Swift takes notes and improves the sound of her next re-release project.