Music’s Biggest Night has its perks. After taking home five wins at the 2022 GRAMMYs, Jon Batiste saw a sales boost of over 2,746% for his Album Of The Year-winning project WE ARE. The LP sold 18,000 units in the week following the show, according to Billboard.

Batiste’s five GRAMMYs may have technically made him the biggest winner of the night, but nearly every artist who touched the stage at the 2022 GRAMMYs won big in terms of sales. Billboard also reported that Best New Artist winner Olivia Rodrigo’s debut album SOUR sold 40,000 units (a 20% increase) and catapulted back into the top 5 of the Billboard 200. The show’s openers Silk Sonic saw their An Evening With Silk Sonic album climb from the 100s into Billboard’s top 30 after an electrifying performance and four wins throughout the night.

The boost extends across genres, as Chris Stapleton and his Best Country Album winner Starting Over sold over 40% more units than it did in the prior week. Similar sales upticks took place for GRAMMY winners Jazmine Sullivan (Heaux Tales; 32% increase), Tyler, The Creator (Call Me If You Get Lost; 20% increase), Baby Keem (The Melodic Blue; 13% increase), and H.E.R (Back Of My Mind; 12% increase). 

Performers also saw a sales bump, with both Lil Nas X and Jack Harlow seeing slight jumps (Lil Nas X’s Montero went up 6%, Harlow’s That’s What They All Say went up 20%), and Justin Bieber’s Justice increasing by 8%. And despite Taylor Swift’s absence this year, her Album Of The Year-nominated evermore still moved 10,000 units post-GRAMMYs, up 11%.

How The Sounds Of The '70s Took Over The 2022 GRAMMYs: The Return Of ABBA, The Throwback Vibes Of Silk Sonic & More

From vinyl records by the 1975 and U2, to album reissues and previously unreleased music, record stores around the world are stocking limited and exclusive releases for Record Store Day 2024. 

The first Record Store Day kicked off in 2008 and every year since, the event supporting independently owned record stores has grown exponentially. On Record Store Day 2024, which falls on April 20, there will be more than 300 special releases available from artists as diverse as  the Beatles and Buena Vista Social Club. 

In honor of Record Store Day 2024 on April 20, here are 10 limited and exclusive drops to watch out for when browsing your local participating record store. 

David Bowie — Waiting in the Sky (Before The Starman Came To Earth

British glam rocker David Bowie was a starman and an icon. Throughout his career, he won five GRAMMY Awards and was honored with the Lifetime Achievement Award in 2006. 

On RSD 2024, Bowie's estate is dialing it back to his Ziggy Stardust days to make Waiting in the Sky (Before The Starman Came To Earth) available for the first time. The record features recordings of Bowie's sessions at Trident Studios in 1971, and many songs from those sessions would be polished for his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. 

The tracklisting for Waiting in the Sky differs from Ziggy Stardust and features four songs that didn’t make the final album.

Talking Heads — Live at WCOZ 77

New York City-based outfit Talking Heads defined the sound of new wave in the late '70s and into the next decade. For their massive influence, the group received two GRAMMY nominations and was later honored with the Lifetime Achievement Award in 2021.

While promoting their debut album Talking Heads: 77, the quartet recorded a live performance for the New Albany, Pennsylvania radio station WCOZ in 1977. The Live at WCOZ 77 LP will include 14 songs from that performance at Northern Studios, including seven that will be released for the first time. Among the previously unheard cuts are "Love Goes To A Building On Fire" and "Uh-Oh, Love Comes To Town." During that session, Talking Heads also performed songs like "Psycho Killer" and "Pulled Up."

The Doors — Live at Konserthuset, Stockholm, September 20, 1968

The Doors were at the forefront of the psychedelic rock movement of the 1960s and early '70s. One of Jim Morrison's most epic performances with the band will be available on vinyl for the first time. 

Live at Konserthuset, Stockholm, September 20, 1968 includes recordings from a radio broadcast that was never commercially released. The 3-LP release includes performances of songs from the Doors’ first three albums, including 1967’s self-titled and Strange Days. In addition to performing their classics like "Light My Fire" and "You're Lost Little Girl," the Doors and Morrison also covered "Mack the Knife" and Barret Strong's "Money (That's What I Want)" live during this session. 

Dwight Yoakam — The Beginning And Then Some: The Albums of the '80s

Over the course of his 40-year career, country music icon Dwight Yoakam has received 18 GRAMMY nominations and won two golden gramophones for Best Male Country Vocal Performance in 1994 and Best Country Collaboration with Vocals in 2000.

On Record Store Day 2024, Yoakam will celebrate the first chapter of his legacy with a new box set: The Beginning And Then Some: The Albums of the '80s. His debut album Guitars, Cadillacs, Etc., Etc. and 1987’s Hillbilly Deluxe will be included in the collection alongside exclusive disc full of rarities and demos. The 4-LP set includes his classics like "Honky Tonk Man," "Little Ways," and "Streets of Bakersfield." The box set will also be available to purchase on CD.  

The Beatles — The Beatles Limited Edition RSD3 Turntable

Beatlemania swept across the U.S. following the Beatles’ first appearance on "The Ed Sullivan Show" in February 1964, setting the stage for the British Invasion. With The Beatles Limited Edition RSD3 Turntable, the band will celebrate their iconic run of appearances on Sullivan’s TV program throughout that year.

The box set will include a Beatles-styled turntable and four 3-inch records. Among those records are the hits "I Want To Hold Your Hand," "Till There Was You," "She Loves You," and "I Saw Her Standing There," which the Beatles performed on Sullivan's TV across several appearances. 

Among 23 GRAMMY nominations, the Beatles won seven golden gramophones. In 2014, the Recording Academy honored them with the Lifetime Achievement Award.   

Olivia Rodrigo and Noah Kahan — From The BBC Radio 1 Live Lounge LP

Olivia Rodrigo and Noah Kahan are two of the biggest pop stars in the world right now — Rodrigo hitting the stage with No Doubt at Coachella and near the end of her global GUTS Tour; Kahan fresh off a Best New Artist nomination at the 2024 GRAMMYs. Now, they're teaming up for the split single From The BBC Radio 1 Live Lounge LP, a release culled from each artist's "BBC Radio 1 Live Lounge" sessions. 

The special vinyl release will include Rodrigo's live cover of Kahan's breakout hit "Stick Season." The single also includes Kahan’s cover of Rodrigo’s song "Lacy" from her second album, GUTS. This month, they performed the song live together on Rodrigo’s Guts World Tour stop in Madison Square Garden.  

Buena Vista Social Club — Buena Vista Social Club

Influential Cuban group Buena Vista Social Club popularized genres and sounds from their country, including son cubano, bolero, guajira, and danzón. Buena Vista Social Club's landmark self-titled LP won the GRAMMY for Best Tropical Latin Album in 1998.

The following year, a documentary was released that captured two of the band's live performances in New York City and Amsterdam. To celebrate the 25th anniversary of the documentary, the Buena Vista Social Club album will be released on a limited edition gold vinyl with remastered audio and bonus tracks.

Buena Vista Social Club is one of the 10 recordings to be newly inducted into the GRAMMY Hall Of Fame as part of the 2024 inductee class.

Danny Ocean — 54+1

Venezuelan reggaeton star Danny Ocean broke through on a global level in 2016 with his self-produced debut single "Me Rehúso," a heartbreaking track inspired by Ocean fleeing Venezuela due to the country's economic instability and the lover he had left behind. 

With "Me Rehúso," Ocean became the first solo Latin artist to surpass one billion streams on Spotify, on the platform with a single song. "Me Rehúso" was included on his 2019 debut album 54+1, which will be released on vinyl for the first time for Record Store Day.

Lee "Scratch" Perry & The Upsetters — Skanking With The Upsetter

Jamaican producer Lee "Scratch" Perry pioneered dub music in the 1960s and '70s. Perry received five GRAMMY nominations in his lifetime, including winning Best Reggae Album in 2003 for Jamaican E.T.

To celebrate the legacy of Perry's earliest dub recordings, a limited edition run of his 2004 album Skanking With The Upsetter will be released on Record Store Day. His joint LP with his house band the Upsetters will be pressed on transparent yellow vinyl. Among the rare dub tracks on the album are "Bucky Skank," "Seven & Three Quarters (Skank)," and "IPA Skank." 

Read more: Lee "Scratch" Perry Documentary Director Sets The Record Straight On The Reggae Icon's Legacy — Including A Big Misconception About Bob Marley

Notorious B.I.G. — Ready To Die: The Instrumentals

The Notorious B.I.G. helped define the sound of East Coast rap in the '90s. Though he was tragically murdered in 1997, his legacy continues to live on through his two albums. 

During his lifetime, the Notorious B.I.G. dropped his 1994 debut album Ready to Die, which is widely considered to be one of the greatest hip-hop releases of all-time. In honor of the 30th anniversary of the album (originally released in September '94), his estate will release Ready To Die: The Instrumentals. The limited edition vinyl will include select cuts from the LP like his hits "Big Poppa," "One More Chance/Stay With Me," and "Juicy." The album helped him garner his first GRAMMY nomination in 1996 for Best Rap Solo Performance. The Notorious B.I.G. received an additional three nominations after his death in 1998. 

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The world now knows Taylor Swift as a global pop superstar, but back in 2006, she was just a doe-eyed country prodigy. Since then, she's released 10 (and soon to be 11) studio albums, re-recorded four as "Taylor's Version," and cultivated one of the most feverish fan bases in music. Oh, and she's also won 14 GRAMMY Awards, including four for Album Of The Year — the most ever won by an artist.

Swift has become one of music's most notable shapeshifters by refusing to limit herself to one genre, moving between country, pop, folk and beyond. A once-in-a-lifetime generational storyteller, one could argue that she is music's modern-day maverick, constantly evolving both her music and the culture around her.

Every album era has seen Swift reinvent herself over and over, which has helped pave the way for artists to explore other musical avenues. In turn, Swift hasn't just become one of the biggest artists of all time — she's changed pop music altogether.

Ahead of Taylor Swift's newest era with The Tortured Poets Department, GRAMMY.com looks back on all of her albums (Taylor's Versions not included) and how each era shaped her remarkable career.

Taylor Swift: Finding Her Place In Music

In a genre dominated by men, the odds were already stacked against Swift when she first broke into country music as a teenage female artist. The thing that differentiated her from other writers — and still does to this day — is her songwriting. She didn't want to be just "another girl singer" and knew writing her own songs would be what set her apart. 

Written throughout her adolescence, Taylor Swift was recorded at the end of 2005 and finalized by the time Swift finished her freshman year of high school. Serving as a snapshot of Swift's life and teenhood, she avoided songwriting stereotypes typically found in country music. Instead, she wanted to capture the years of her life while they still represented what she was going through, writing about what she was observing and experiencing, from love and friendship to feeling like an outsider. 

As a songwriter, Taylor Swift set the tone for what would be expected of her future recordings — all songs were written by her, some solely and others with one or two co-writers. One writer in particular, Liz Rose, applauded Swift's songwriting capabilities, stating that she was more of an "editor" for the songs because Swift already had such a distinct vision. 

The album's lead single, "Tim McGraw," an acoustic country ballad inspired by Swift knowing her relationship was going to end, represents an intricate part of Swift's songwriting process; meticulously picking apart her emotions to better understand them. With its follow-up, "Our Song" — which spent six consecutive weeks on the top of Billboard's Hot Country Songs chart — she became the youngest person to solely write and sing a No. 1 country single; she also became the first female solo artist in country music to write or co-write every song on an album. 

Although Swift's eponymous debut is underappreciated now — even lacking its own set on Swift's Eras Tour — Taylor Swift's forthcoming rerecording is arguably the most anticipated by fans, who are eager to hear the songs with the singer's current and more refined vocals. Still, for fans who haven't properly explored Taylor Swift, it's easy to tie together Swift's earlier work to her current discography. 

On the track "A Place In This World," a song she wrote when she was just 13, Swift sings about not fitting in and trying to find her path. While her songwriting has developed and matured, feeling like an outsider and carving her own path is a theme she still writes about now, as seen on Midnights' "You're On Your Own, Kid." 

Even as a new country artist, critics claimed that she "mastered" the genre while subsequently ushering it to a new era — one that would soon see Swift dabble in country-pop. 

Fearless: Creating A Different Kind Of Fairytale

If Taylor Swift was the soundtrack to navigating the early stages of teenhood, Fearless is Swift's coming-of-age record. More than its predecessor, Fearless blurs the line between country and pop thanks to crossover hits like "Love Story" and "You Belong With Me," yet still keeps the confessional attributes known in country songwriting. 

Most of Fearless is Swift coming to terms with what she believed love to be. On the album's liner notes, Swift says Fearless is about "living in spite" of the things that scare you, like falling in love again despite being hurt before or walking away and letting go. The 2008 version of Taylor wanted to "believe in love stories and prince charmings and happily ever after," whereas in Swift's Fearless (Taylor's Version) liner notes, she looks back on the album as a diary where she was learning "tiny lessons" every time there was a "new crack in the facade of the fairytale ending she'd been shown in the movies." 

Much of Fearless also sees Swift being reflective and nostalgic about adolescence, like in "Never Grow Up" and "Fifteen." Still wistful and romantic, the album explores Swift's hopes for love, as heard in the album's lead single "Love Story," which was one instance where she was "dramatizing" observations instead of actually experiencing them herself. 

Unlike the slow-burn of Taylor Swift, Fearless went straight to No. 1 on the Billboard 200 and stayed there for eight consecutive weeks. It won Swift's first Album Of The Year GRAMMY in 2010, at the time making her the youngest person to win the accolade at age 20. To date, it has sold 7.2 million copies in America alone. It might not be the romantic tale Swift dreamed of growing up, but her sophomore album signalled that bigger things were to come.

Speak Now: Proving Her Songwriting Prowess

Everything that happened after the success of Fearless pushed Swift from country music's best-kept secret to a mainstream star. But this meant that she faced more publicity and criticism, from naysayers who nitpicked her songwriting and vocals to the infamous Kanye West incident at the 2009 MTV Video Music Awards.

For the first time since becoming an artist, she was forced to reckon with the concept of celebrity and how turning into one — whether she wanted it or not — informed her own writing and perception of herself. No longer was she the girl writing songs like "Fifteen" in her bedroom — now she was working through becoming a highly publicized figure. Speak Now is the answer to those growing pains. 

Along with having more eyes on her, Swift also felt pressured to maintain her persona as a perfect young female role model amid a time when her peers like Miley Cyrus and Demi Lovato were attempting to rebrand to be more mature and sexier. During her NYU commencement speech in 2022, she reflected on this era of her life as one of intense fear that she could make a mistake and face lasting consequences, so the songs were masked in metaphors rather than directly addressing adult themes in her music. But that also resulted in some of her most poignant lyrics to date.

Read More: For The Record: How Taylor Swift's 'Speak Now' Changed Her Career — And Proved She'll Always Get The Last Word

Writing the entire album herself, Swift used Speak Now to prove her songwriting prowess to those who questioned her capabilities. Much like her previous two albums, Swift included songs that were both inspired by her own life and being a fly on the wall. The album's title track pulled from the saying, "Speak now or forever hold your peace," inspired by a friend's ex-boyfriend getting engaged; meanwhile, "Mean" was everything Swift wanted to say to a critic who was continuously harsh about her vocals.

Retrospective and reflective, Speak Now is an album about the speeches she could've, would've and should've said. From addressing the aforementioned VMA incident in the forgiving "Innocent" to a toxic relationship in "Dear John," Speak Now also hinted that her rose-colored glasses were cracked, but Swift (and her songwriting) was only becoming stronger because of it.

Red: Coming Into Her Own

Highly regarded as Swift's magnum opus, Red sees the singer shed the fairytale dresses and the girl-next-door persona to craft a body of work that has now been deemed as her first "adult" record. On Red, Swift focused on emotions evoked from a hot-and-cold relationship, one that forced her to experience "intense love, intense frustration, jealousy and confusion" — all feelings that she'd describe as "red." 

Unlike most of her previous writing that had been inspired by happy endings and fairytales, Red explores the lingering pain and loss that can embed itself within despite trying your hardest to let go. In her liner notes, she references Pablo Neruda's poem "Tonight I Can Write," stating that "Love is so short, forgetting is so long" is the overarching theme for the album. She plays with time — speeding it up in "Starlight," dabbling in the past in "All Too Well," and reframing it in "State of Grace" — to better understand her experiences. 

After releasing country-pop records, Red toed the line between genres more than ever before. Swift leaned further into the full pop territory by working with esteemed producers Max Martin and Shellback for the dubstep-leaning track "I Knew You Were Trouble," the punchy lead single "We Are Never Getting Back Together," and the bouncy anthem "22." But even when the pop power players weren't involved, her country stylings still leaned more pop across the album, as further evidenced with the racing deep cut "Holy Ground" and the echoing title track. 

The slight change of direction became polarizing for critics and fans alike. Following the more country-influenced Speak Now, some critics and fans found the pop songs on Red were too pop and the lyrics were too repetitive, possibly indicating that she might be selling out. If that wasn't enough, Red became an era where Swift's personal life went from speculation to tabloid fodder, with misogynistic headlines and diluting her work to just "writing about her exes." It's an era that would eventually inspire many tracks on Red's successor, 1989, like "Blank Space" and "Shake It Off."

Commercially, Red debuted at No. 1 on the Billboard 200 and sold 1.2 million copies in its first week, becoming the fastest-selling country album and making Swift the first female artist to have three consecutive albums spend six or more weeks at the top of the chart. The impact of Red extended beyond its own success, too. Often mentioned as a record that inspired a generation of artists from Troye Sivan to Conan Gray, Swift's confessional, soul-bearing authenticity set a new standard for straightforward pop music. 

1989: Reinventing Into A Pop Genius

The night Red lost the GRAMMY for Album Of The Year in 2014, Swift decided that her next album would be a full-on pop record. After years of identifying as a country artist and flirting with pop, Swift departed her roots to reinvent herself, no matter what her then-label or critics had to say. And in true Swiftian fashion, turning into a pop artist didn't just prove her genre-shapeshifting capabilities — it further solidified her as an artist who is at her best when she freely creates to her desires and refuses to adhere to anyone.

1989 was lauded by critics for its infectious synth-pop that was reminiscent of the 1980s, yet still had a contemporary sound. Swift opted to lean more into radio-friendly hits, which resulted in songs like "Style," "Wildest Dreams," "Blank Space," and "Shake It Off," all of which became singles. And where some might trade a hit or two at the expense of their artistic integrity, Swift didn't falter — instead, her lyrics were just as heartfelt and intimate as they were on prior albums.

After exploring pop-leaning sonics she first found with Red, Swift worked with Martin and Shellback again on most of 1989. This reinvention brought new (and very important) collaborators as well. Swift's now-frequent collaborator Jack Antonoff credits her as the first person to take a chance on him as a producer with "I Wish You Would" and "Out Of The Woods"; both tracks exemplified how future Antonoff-produced songs would sound on albums like reputation, Lover and Midnights.

At the time, 1989 became Swift's best-selling album to date. It sold nearly 1.3 million copies within release week in the U.S., debuting atop the Billboard 200 and reigning for 11 non-consecutive weeks. The album also earned Swift several awards — including her second Album Of The Year GRAMMY, which made her the first female artist to ever win the award twice. 

Following the release of 1989, Swift became a cultural juggernaut, and the album has had an omnipresence in music since. Swift didn't just normalize blending genres, but proved that you can create a sound that is uniquely yours by doing so. In turn, Billie Eilish, Dua Lipa and more pop stars have refused to conform or stick to what they've done prior. 

reputation: Killing The Old Taylor

For years, Swift was on a strict two-year cycle — she'd release an album one year, tour the next, and then release a new album the following year. But following the heightened scrutiny and highly publicized tabloid drama that followed the end of the 1989 era, Swift completely disappeared for a year. She stayed away from public appearances, didn't do any press, and missed the album schedule fans became accustomed to. It wasn't until summer 2017 when she returned from her media (and social media) blackout to unveil the fitting title for her new album: reputation.

Born as a response to the naysayers and name-callers, reputation follows Swift shedding her public image — which includes the pressure to be perfect, the drama, and the criticism — by declaring, "There will be no further explanation. There will just be reputation." Leaning on the same tongue-in-cheek songwriting techniques she used while penning "Blank Space," Swift wrote from the mindset of how the public perceived her.

When Swift released the lead single "Look What You Made Me Do," a song she initially wrote as a poem about not trusting specific people, many assumed the album would center on vengeance and drama. Although Swift said that the album has its vindictive moments — even declaring that the "old Taylor" is dead on the bridge of "Look What You Made Me Do" — it's a vulnerable record for her. Swift described reputation as a bait-and-switch; at their core, the songs are about finding love in the darkest moments. 

Swift still remained in the pop lane with reputation, largely leaning on Antonoff and the Martin/Shellback team. The sound almost mirrored the scrutiny Swift faced in the years prior — booming electropop beats, maximalist production and pulsing synthesizers dominate, particularly on "End Game," "I Did Something Bad," and "Ready For It…?" But the "old Taylor" isn't entirely gone on songs like "Call It What You Want," "So It Goes…" and "New Year's Day," where she lets her guard down to write earnest love odes.

Even after Swift spent some time away from the spotlight, the public didn't immediately gravitate toward her return. And even despite matching the 1.2 million first-week sales of her previous releases, some concluded that the album was her first commercial failure when compared to 1989. With time, though, it became clear that the response to reputation became muddled with the public's overall perception of her at the time — some even claimed that Swift was ahead of her time with the album's overall sound.

For her 2023 TIME Person of the Year profile, Swift described reputation as a "goth-punk moment of female rage at being gaslit by an entire social structure." For years, she felt the pressure to be "America's Sweetheart" and to never step out of line. Writing reputation became a lifeline following the events that catalyzed it  — a way to shed the so-called snakeskin and make peace with however the public wanted to view her. 

Lover: Stepping Into The Daylight

After finding love amongst chaos with reputation, Swift was learning to deal with the anxiety and fear of losing her partner — became a major theme of another aptly titled album, Lover. Both sonically and visually, Lover was a complete change from reputation. After touring reputation, Swift found that her fans saw her as "a flesh-and-blood human being," inspiring her to be "brave enough to be vulnerable" because her fans were along with her. Stepping away from the dark and antagonistic themes around reputation encouraged Swift to step into the light and be playful with her work on Lover.

Swift also found a new sense of creativity within this new mindset, one where she aimed to still embed playful themes in her songwriting but with less snark than that of "Blank Space" and "Look What You Made Me Do." Leaning into Lover being a "love letter to love," Swift explored every aspect of it. Tracks like "Paper Rings" and "London Boy" exude a whimsical energy, even if they center on more serious themes like marriage and commitment. Other songs, including "Death By A Thousand Cuts" and "Cornelia Street," are Swift at her most vulnerable, reflecting on a love lost and grappling with the extreme worry that comes when you could potentially lose someone. 

Looking at Lover retrospectively, it's an album that almost symbolizes a bookend in her discography. She was playful yet poignant, picking apart her past lyrics and feelings and looking at them with the perspective of someone who was once on top of the world, hit rock bottom, and survived in spite of it. This evolution is mentioned throughout Lover, particularly in a direct callback to 2012's Red, "Daylight," which sees her describe her love as "golden" rather than "burning red." 

Lover also marked the first time Swift divulged into politics and societal issues, like campaigning against Donald Trump, releasing the Pride-infused "You Need To Calm Down," and feeling disillusioned by the political climate with "Miss Americana & the Heartbreak Prince." Swift's documentary Miss Americana explores this change further, discussing how she regrets not being vocal about politics and issues prior, in addition to opening up about her body image issues and mental health struggles.

Lover became Swift's sixth No. 1 album in America, making her the first female artist to achieve the feat. But Lover was more than any accolades could reflect — it was Swift's transitional album in many ways, notably marking the first album that she owned entirely herself following leaving Big Machine Records for Republic Records in 2018.

folklore: Looking Beyond Her Personal Stories

After the pandemic started and Swift cancelled her Lover Fest, she spent the early stages of quarantine reading and watching a myriad of films. Without exactly setting out to create an album, she began dreaming of fictional stories and characters with various narrative arcs, allowing her imagination to run free. The result became folklore, 2020's surprise archetypal quarantine album.

Crafting a world with characters like the folklore love triangle between those in "betty" and "august," as well as Rebekah Harkness from "the last great american dynasty" (who once lived in Swift's Rhode Island mansion), was Swift's way of venturing outside her typical autobiographical style of writing. She'd see visceral images in her mind — from battleships to tree swings to mirrored disco balls — and turned them into stories, sometimes weaving in her own personal narrative throughout, or taking on a narrator role and speaking from the perspective of someone she had never met. 

She worked remotely with two producers — again working with her right-hand man Jack Antonoff, and first-time collaborator Aaron Dessner from The National. Some songs, like "peace," were recorded in just one take, capturing the essence and fragility in the song's story, whereas the lyrics for the sun-drenched "august" were penned on the spot as Swift was in her makeshift home studio in Los Angeles.

Another aspect that separated folklore from her previous work was the obvious decision not to create hits made for radio play, so much so that Dessner claimed that she made an anti-pop record at a time when radio wanted clear "bops." Sonically, it ventured into genres Swift hadn't explored much outside of a few folkier tracks on Lover. Rather than relying on mostly electronic elements, Swift, Antonoff and Dessner weaved in soft pianos, ethereal strings, and plucky guitars.

folklore's impact on the zeitgeist at a time where everyone was stuck at home helped shape people's quarantine experience. Fans rejoiced at having songs to comfort them during difficult times, and artists like Maya Hawke, Gracie Abrams, and Sabrina Carpenter credit folklore for inspiring them to create and be even more emotionally honest in their songwriting. After its release, folklore became the best-selling album of 2020 after selling 1.2 million records. At the 2021 GRAMMYs, folklore took home Album Of The Year, making her the fourth artist in history to win three times in the Category. 

evermore: Embracing Experimentation

It was exciting enough for Swifties to experience one surprise album drop from Swift, an artist who typically has an entire album campaign calculated. So when evermore was released just six months after folklore, fans were in shock. 

Like its (literally) folklorian sister, evermore was a surprise release at the end of 2020, marking the first time Swift didn't have distinct "eras" between albums. She felt like there was something "different" with folklore, stating in a social media post that making it was less like she was "departing" and more like she was "returning" to the next stage of her discography. In turn, the album served as a similar escape for Swift as folklore did.

Bridging together the same wistful and nostalgic themes as heard on its predecessor, evermore sees Swift venture even further into escapism. She explores more stories and characters, some based in fiction like "dorothea," and some real, like "marjorie," written in dedication to Swift's grandmother. 

Evermore follows folklore's inclusion of natural imagery and motifs, like landscapes, skies, ivy, and celestial elements. In contrast to the fairytale motifs and happy endings of Fearless, evermore saw Swift become fixated on "unhappy" endings — stories of failed marriages ("happiness"), lifeless relationships ("tolerate it"), and one-time flings ("'tis the damn season"). 

Sonically, evermore is a slight departure from its sister record; where folklore relies on more alt-leaning and indie-tinged sounds, evermore takes the sonics from all of Swift's past records — from pop to country to indie rock — and features all of them on one album. Country songs like "cowboy like me" and "no body, no crime" reaches back to Swift's earlier work in narrative building, seamlessly crafting a three-party story with ease. "Closure" is a "skittering" track that has the same energy as tracks like Lover's "I Forgot That You Existed," whereas the ballad "champagne problems" is thematically reminiscent of Swift's Speak Now track "Back To December" where she takes responsibility for her lover's heartache. 

Working mostly with Dessner on evermore, Swift was emboldened to continue creating and opted to embrace whatever came naturally to them rather than limiting themselves to a sound. Swift felt a "quiet conclusion" after finishing up evermore, describing that it was more about grappling with endings of all "sizes and shapes," and the record represented a chapter closing. Even so, its poetic lyricism and mystical storytelling cleverly foreshadowed what was to come with subsequent albums, particularly The Tortured Poets Department.

Midnights: Encapsulating Her Artistic Magic

After coming out of the folklorian woods following folklore and evermore, fans and critics alike were intrigued to see what direction Swift would take on her next studio album. On Midnights, Swift leaves behind indie folk sounds and returns to the pop production of 1989 and Lover.

Her most conceptual album to date, Midnights charts 13 sleepless nights and explores five themes, from self-hatred and revenge to "what if" fantasies, falling in love, and falling apart. They are the things that keep her up at night, like the self-critiquing in "Anti-Hero," her rise to fame in "You're on Your Own, Kid," and the anxiety of falling in love again in "Labyrinth." Similarly to Swift's cheeky songwriting style that sees her create caricatures of herself in songs like "Blank Space" and "Look What You Made Me Do," she doubles down on claims she's "calculated" on "Mastermind," a song about devising a plan for her and her lover. 

Although the album is a departure from the two pandemic sister albums, the overall creation process didn't differ too much. In addition to working alongside Antonoff (and bringing Dessner in for the bonus-track-filled 3am Edition), Swift's worldbuilding is still the throughline that connects Midnights and Swift's recent albums, whether she's dreaming of a Parisian escape in "Paris" or using war imagery as a metaphor for the struggle of love in "The Great War."

Read More: 5 Takeaways From Taylor Swift's New Album 'Midnights'

Following the success with folklore and evermore, Swift's intrigue was at a then-all-time high upon the release of Midnights. Along with breaking several streaming records — including becoming the first album to exceed 700 million global streams in a week — it was Swift's 11th No. 1 debut on the Billboard 200, and was the highest-selling album of 2022 (and, remarkably, the second best-selling of 2023).

To say that Swift's celebrity has become otherworldly since the release of Midnights would be an understatement. Celebrating her genre-defying and varied discography through The Eras Tour has resulted in old songs having a resurgence, new inside jokes and Easter eggs within the fandom, and a plethora of new listeners being exposed to Swift's work. 

As a result, there has arguably never been more excitement for a Taylor Swift album than for The Tortured Poets Department — especially because the announcement came on the heels of her lucky 13th GRAMMY win in February. Midnights helped further solidify Swift's larger-than-life status at the finale of the 2024 GRAMMYs, too, as she became the only artist in history to win Album Of The Year four times. 

The Tortured Poets Department: Check back on April 19!

It may be hard to believe, but Weekend 1 of Coachella 2024 is already over. Clearly, time flies when you’re having fun — particularly when beholding the world’s leading artists, convened in the Indio desert in California.

If you weren’t there, the festival was filmed, of course. You can enjoy Coachella from the comfort of your own home, sans-sunburn, undrenched with champagne.

As you survey Coachella’s sold-out first weekend, read on for 20 performances, debuts and moments that surprised and touched us from Coachella Weekend 1.

Lana Del Rey's Headlining Set Brought Out GRAMMY Winners Billie Eilish, Jon Batiste & Jack Antonoff

After rolling deep up to her desert set on a fleet of motorcycles for her Friday performance, Lana Del Rey infused her iconic sad-girl pop persona into every facet of her Gatsby-esque performance. 
Her headlining set also included some special GRAMMY-winning guests: Jon Batiste and 2024 Producer Of The YearJack Antonoff both accompanied on piano, while Billie Eilish joined her idol on stage for duet performances of "Ocean Eyes" and "Video Games." Sharing a moment with her hero on stage at the end of the set, Eilish declared, "This is the reason for half you bitches’ existence, including mine.”

Tyler, The Creator Brings Out Childish Gambino, A$AP Rocky, Kali Uchis and Charlie Wilson

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Saturday's main stage event kicked off with a ruckus 80-minute set by creative magnet Tyler, The Creator, who transformed the stage into an ever-changing desert scene to host fellow performers.

First up, Childish Gambino hit the stage to perform a duet of "Running Out of Time," before A$AP Rocky joined for a performance of two tracks, "Potato Salad" and "Who Dat Boy."

Tyler admitted he once saw both as rivals, but now considers them friends. Kali Uchis also returned to the desert stage with Tyler for a quick appearance as well as legendary singer/songwriter Charlie Wilson, who made an unexpected appearance to accompany Tyler on a laid-back version of "EARFQUAKE." 

No Doubt Made Their Grand Re-Entrance (With Olivia Rodrigo!)

No Doubt electrified Coachella with their first performance in nine years, featuring all original members and a blend of eclectic hits that defined their career. Their memorable reunion set highlighted their timeless appeal and was punctuated by a surprise appearance from pop sensation Olivia Rodrigo for a duet performance of No Doubt classic, "Bathwater."

Taylor Swift and Travis Kelce Show Up To Support Ice Spice And Jack Antonoff's Bleachers

The Queen of Pop, Taylor Swift herself, showed up on Sunday with her boyfriend Travis Kelce among the crowds to support her friends: producer and Bleachers band member Jack Antonoff and Eras tourmate Ice Spice. 

Will Smith Joined J Balvin For The “Men In Black” Theme

What slap? Last year, Will Smith appeared at “A GRAMMY Salute To 50 Years Of Hip Hop” as one half of DJ Jazzy Jeff and the Fresh Prince. And at Coachella 2024, the world was treated to another throwback, as he and four-time GRAMMY nominee J Balvin performed the immortal theme to Men in Black.

Doja Cat Brought Out A$AP Rocky, 21 Savage and Teezo Touchdown

GRAMMY winner and 19-time nominee Doja Cat turned in a performance heavy on rap — and also puppet dinosaurs. As per the former, A$AP Rocky, 21 Savage and Teezo Touchdown touched down, collaborating with Doja on “Urrrge,” “N.H.I.E.,” and “Masc,” respectively.

Ice Spice Previewed A New Song Onstage

Something’s stirring in Ice Spiceworld. At Coachella, she wowed with her live debut of a new song that sampled Sean Paul’s 2005 track “Gimme the Light.” (She closed out with “Think U the Shit (Fart).”)

As reported earlier in April, Ice Spice is going to make her acting debut in Spike Lee’s new movie High and Low, starring Denzel Washington. 

Peso Pluma Made His Coachella Debut

¡Corridos tumbados de por vida! In the wake of his big win at the 2024 GRAMMYs — Best Música Mexicana Album (Including Tejano), for GÉNESIS — Peso Pluma lit up Coachella 2024 with that signature fusion of folky guitar ballads and modern hip-hop, with special guests including Becky G and Arcángel.

Lil Uzi Vert Previewed A New Song Onstage

Ice Spice wasn’t the only act to preview new material at Coachella 2024. Enter four-time GRAMMY nominee Lil Uzi Vert, who performed a hypnotic and — again — unnamed track, one that seemed to be tailor-made for Coachella.

A Mini-Fugees Reunion Went Down (Thanks To YG Marley)

Lauryn Hill and Wyclef Jean are no strangers to reigniting the Fugees spirit onstage — they did so at Essence Fest 2022, while GRAMMY.com was reporting on site. This time, they kept it in the family; during Hill’s son YG Marley’s set, both Fugees came out, playing classics like “Killing Me Softly.” (The embattled Pras wasn’t present.)

Blur Announced This Was Their Last Performance Together

Social media is currently abuzz at the allegedly unresponsive audience for Blur — but what’s a viral, out-of-context clip supposed to prove, anyway? Whatever the case may be, after their rollicking set, Damon Albarn and company declared that the Britpop icons were entering another hiatus.

Bizarrap Brought Out Shakira

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Mega-watt Argentine producer Bizarrap brought his BZRP Music Sessions to the Coachella stage and included a surprise appearance from superstar Shakira.

Shakira and Bizarrap won the Latin GRAMMY for Song Of The Year at the 2023 Latin GRAMMYs for "Shakira: Bzrp Music Sessions, Vol. 53," a featured track on her fresh-out-the-trap album, Las Mujeres Ya No Lloran. 

Billie Eilish Threw A Special “Billie & Friends” Party & Hyped Up The Crowd With The Killers’ “Mr. Brightside”

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After surprising fans during Lana Del Rey's Friday set, Billie Eilish treated fans and special guests to a preview of her new album, Hit Me Hard and Soft at the Do LaB Stage on Saturday night.

The previewed songs were well-received by an enthusiastic set of attendees who were introduced to yet-to-debut tracks "“Lunch,” "L’Amour De Ma Vie," and "Chihiro." 

"Yo Gabba Gabba!" Showed Up To The Aquabats’ Pool Party

Christian Jacobs, lead singer of the Aquabats, co-created the "Yo Gabba Gabba!" TV show — and the colorful cast of costumed characters showed up to their pool party! This marks yet another example of ska picking up at Coachella — see the transcendent No Doubt and Sublime performances.

Sublime Made Their Coachella Debut With Jakob Nowell

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As you may have read, Sublime are back, against the odds — not with Rome, but with Jakob Nowell, original Sublime frontman Bradley’s son. (It must be said: Bradley died at 28, ending the band’s original run; as he takes the guitar and mic, Jakob himself is 28.)

Speaking of the guitar — he wielded his old man’s, in an emotional and electrifying set that proved these songs’ durability and beyond.

Vampire Weekend Brought Paris Hilton Onstage To Play Cornhole

Life imitates Mad Libs! The beloved indie rockers are out promoting their new album, 2024’s Only God Was Above Us — and who better to cheerlead than the one and only Paris Hilton, to play the classic bean bag game with the crew?

Dom Dolla Brought Out Nelly Furtado

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Dance/electronic sensation Dom Dolla returned to Coachella for a charged set featuring festival first-timer Nelly Furtado who joined to perform their GRAMMY-nominated track, "Eat Your Man."

Furtado gave her all during the rousing performance, a testament to the duo's synergy after Dom Dolla brought the singer out of a six year hiatus to work together on the song.

Sky Ferreira Made A Surprise Appearance With Kevin Abstract

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If Sky Ferreira seems like an unlikely candidate to belt out a Lady A hit, think again. The singer/songwriter brought newfound heft to the five-time GRAMMY winners’ classic hit, “Need You Now,” with Kevin Abstract.

Does this foreshadow a reappraisal of the country mainstays’ catalog? Once the dust settles re: the ska revival, we’ll have that conversation.

Kesha Showed Up To Rock With Reneé Rapp (And Diss A Certain Disgraced Rapper)

“Wake up in the morning feeling like P. Diddy,” Kesha once rapped, in her inescapable 2009 hit “Tik Tok.” Well, that didn’t age well, and Kesha knew that. So she changed “P. Diddy” to “me” — and if that’s just going to be the official lyric now, that’s fine by the music industry. Reneé Rapp, of Mean Girls fame, bolstered her.

Mac DeMarco Joined Forces With Lil Yachty

Mac DeMarco’s been a savvy chameleon at this stage in his career, prioritizing brainy collaborations over typical album release cycles.

He has two songwriting credits on Yachty’s game changing 2023 album Let’s Start Here, and during Yachty’s performance, he showed up to perform two of his song songs: “On The Level,” from 2017’s This Old Dog, and “Chamber of Reflection,” from his decade-old album Salad Days.

Additional reporting by Nina Frazier.

10 Must-See Artists At Coachella 2024: Skepta, The Last Dinner Party, Mdou Moctar, Cimafunk & More

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Taylor Swift performs on night one of the Eras Tour in Kansas City, Missouri in July 2023.

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Taylor Swift, The 'Tortured Poet': 6 Times She's Used Poetry In Her Work

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As Taylor Swift prepares for her next era with 'The Tortured Poets Department,' take a look at some of the ways the pop superstar has displayed her love for poetry in her songwriting, tours and more.

Kelsey Barnes

|GRAMMYs/Apr 15, 2024 - 07:22 pm

With an ability to write songs that are as timeless as they are universal, Taylor Swift has often been described as the most impressive songwriter of her generation. The pop star's authentic lyrics and knack for storytelling has had fans invested from the start of her career, picking apart each line to better understand them. What is largely overlooked, though, are the poetic tools Swift channels to better understand herself.

From turning short stanzas into songs to categorizing tracks as "quill" or "fountain pen," Swift deftly incorporates her love of poetry and writing into her work. And now, she's conceptualizing an entire album around it.

Swift's aptly titled eleventh album, The Tortured Poets Department, sees the singer/songwriter as the Chairman of the Department who, upon announcing the album, declared "All's fair in love and poetry." Following the release of Midnights, she began working on the record and has since said it was a "lifeline" album — and that she never had a project where she needed songwriting more.

Before The Tortured Poets Department arrives on April 19, GRAMMY.com explores how Swift has incorporated poetry into her career and used it to level her songwriting.

Honoring Poets In Her Work

Much like how her fans find comfort in her work, Swift uses poetry as a main source of comfort and inspiration. Swift begins her album prologue for 2012's Red by quoting the poem "Tonight I Write the Saddest Lines" by Neruda, one she's said has always captivated her. 

The line reads, "Love is so short, forgetting is so long." It sets the theme for the entire Red album, with Swift stating that she relates to the line in her "saddest moments" when she "needed to know someone else had felt the exact same way." It clearly made an impression on her: during the release of Red (Taylor's Version) almost a decade later, she'd quote the line again at the beginning of "All Too Well: The Short Film."

When speaking with NPR about the poem, Swift said that her favorite writers — whether they be poets or authors — have "musical hooks" in their work and have the ability to write about things in a universal, relatable and simple way. "The Lakes," a deluxe track featured on folklore, directly references The Lake Poets, who called the idyllic Lake District in England home. Specifically, the track gives a nod to Romantic poet William Wordsworth: "Take me to the lakes where all the poets went to die/ I don't belong, and my beloved, neither do you [...]/ I've come too far to watch some name-dropping sleaze/ Tell me what are my words worth." 

Compartmentalizing Her Songwriting

During her acceptance speech for NSAI's Songwriter-Artist of the Decade Award in 2022, Swift mentioned the "dorky" way she compartmentalizes songwriting into three categories: "quill," "fountain pen" and "glitter gel." Fun, upbeat songs that don't take themselves too seriously fall under the "glitter gel" category; "fountain pen" lyrics reference modern storylines with a "poetic twist." 

"Quill" lyrics, however, are the ones that weave Swift's poeticism directly into her songs. During the speech, she describes writing them using antiquated words, almost as if she was "inspired to write it after reading Charlotte Brontë or after watching a movie where everyone is wearing poet shirts and corsets." Particularly, she notes evermore's "ivy" as a "quill" track, reciting the lyrics, "How's one to know/ I'd meet you where the spirit meets the bones/ In a faith forgotten land."

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Using Poems To Communicate During A Media Blackout

Following the hysteria post-1989 that catalyzed 2017's reputation, Swift leaned into the album's ethos — "There will be no further explanation, there will just be reputation" — Swift avoided most, if not all, interviews during the press campaign. Instead, she opted to use poetry as a form of communication. 

In place of an interview, she submitted a poem to British Vogue to accompany her cover shoot. The poem "The Trick to Holding On" was seemingly written at the tail end of that aforementioned media scrutiny, seeing Swift exploring themes around healing and acceptance, writing, "Let go of the ones who hurt you/ Let go of the ones you outgrow" and "Suddenly you'll know/ The trick to holding on/ Was all that letting go."

As part of the album launch, Swift released accompanying magazines with two different poems titled "If You're Anything Like Me" and "Why She Disappeared," both written by her. In "If You're Anything Like Me," Swift picks apart her own flaws and failings while touching on the aftermath of the scrutiny she experienced ("Each new enemy turns to steel/ They become the bars that confine you/ In your own little golden prison cell"). It ends with Swift recognizing her growth and finding peace: "If you're anything like me, I'm sorry/ But Darling, it's going to be okay."

Reciting Poetry On Tour

On her two most recent tours, Swift has integrated poetry into parts of her sets. Before Swift performed "Getaway Car" during the reputation stadium tour, she recited her poem "Why She Disappeared." Much like "If You're Anything Like Me," the poem explores her tarnished reputation and uses illeism to show the distance she feels from those events. In the poem, she says, "Without your past/ You could never have arrived so wondrously and brutally/ By design or some violent, exquisite happenstance/...here," distinguishing her past self from her present self.

As Swift took a journey through her discography on her Eras Tour, she began the folklore set — the one that fans might describe as her most poetic — with a spoken word version of her song "seven." Alluding to her past and current eras, Swift begins the poem with the line, "If you wish to romanticize the woman I became" followed by interpolating a lyric from 1989's "Wildest Dreams," saying, "Then say you'll remember me/ Standing in a nice dress/ Staring at the sunset." She asks audiences to "begin at the beginning" by picturing her in the trees and continues to recite the first verse and chorus.

Referencing Literature

When Vogue asked Swift what subject she would teach if she was a teacher, it wasn't a surprise that she said English. Her love of literature — both modern and classic — is apparent in her lyrics. Sometimes she compares herself to literary characters, like Daisy Buchanan from The Great Gatsby in the song "happiness," in which she sings, "I hope she'll be a beautiful fool," a direct quote from the novel. Instead of using it in its original context, which was meant to be a blessing, Swift makes it more devastating. 

Other times, she uses specific motifs as a way to express her frustrations, like using Nathaniel Hawthorne's The Scarlet Letter and its themes of "adultery" and sin in Fearless' "Love Story" ("You were Romeo, I was a scarlet letter") and in 1989 "New Romantics" ("Show off our different scarlet letters").

The concept of fate that Swift explores in "invisible string" was mentioned by English author Charlotte Brontë in Jane Eyre. The novel's "I have a strange feeling with regard to you: as if I had a string somewhere under my left ribs, tightly knotted to a similar string in you" line is mirrored by Swift's lyrics, "All along there was some/ Invisible string/ Tying you to me."

In a conversation with Paul McCartney for Rolling Stone, Swift said that she read "much more" than she ever did during folklore. Specifically mentioning Rebecca by Daphne du Maurier, a story of an unnamed woman who marries a man who she believes is still in love with his wife. Swift found inspiration in the novel's use of flowery and "prettier" words and turned them into song names and lyrics, like "epiphany" and "elegies." Her evermore track "no body, no crime" even alludes to the same death the fictional character faces in Rebecca and "tolerate it" explores the story of a neglected wife and a loveless husband.

Since Swift loves using songwriting and storytelling as a form of escape, it makes sense that she'd also use whimsical children's fairy tales as inspiration. Alice in Wonderland might be the most obvious reference she's used for 1989's "Wonderland," using allusions to falling down a rabbit hole and Cheshire cat grins as a way to explain the frantic and fragile relationship she was experiencing. In "cardigan," Swift puts herself in the shoes of Wendy in Peter Pan to explain her frustrations with the immature and gallless Peter ("I knew you/ Tried to change the ending/ Peter losing Wendy").

Incorporating Poetry Into Songs

Many of Swift's songs began as poems. In conversation with Scholastic in 2014, Swift spoke with students about the books she loved growing up, discussing how journaling helped simplify her feelings which would eventually lead her to discovering her love of poetry. She mentions that "This Love" from 1989 was initially a quick and spontaneous poem she wrote in her journal which read "This love is good/ This love is bad/ This love is alive back from the dead/ These hands had to let it go free and/ This love came back to me." Shortly after, a melody came to mind and she developed the poem into a song.

On Lover, fans found that the penultimate track "It's Nice To Have A Friend" reminded them of a poem. Speaking to Billboard upon the album's release, Swift said the song is more of a poem filled with metaphors with double meanings. "It's Nice To Have A Friend" follows a typical poetic beat — specifically an iambic trimeter — where Swift emphasizes certain syllables to create six syllables per line. 

On her 2022 album, Midnights, Swift directly mentions writing poetry on the love song "Sweet Nothing," penning the lyric, "On the way home/ I wrote a poem/ You say, 'What a mind'/ This happens all the time." Although the themes of pressure and media scrutiny of the reputation poems still appear in her later work, this poetic-sounding track speaks more to a simple gratitude than anything else. 

In late 2023, Swift liked a tweet connecting the lyric to a quote from Paul McCartney about his late wife Linda McCartney, which reads, "I would come back from a run with a poem to share and having listened, Linda would say 'what a mind.'" Whether it's about Paul and Linda or Swift's personal life, poetry helps uncover new ways to inspire her.

As the next chapter in Swift's musical universe begins with the arrival of The Tortured Poet Department, it's clear her love for storytelling is ever-evolving — just like her love for poetry.

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5. 5Taylor Swift, The 'Tortured Poet': 6 Times She's Used Poetry In Her Work