meta-scriptJustin Timberlake's Biggest Songs, From His Best *NSYNC Moments To The Solo Smashes | GRAMMY.com
Justin Timberlake performing in 2022
Justin Timberlake performs during the 2022 Children’s Hospital Los Angeles Gala in October 2022.

Photo: Matt Winkelmeyer/Getty Images for Children's Hospital Los Angeles

Justin Timberlake's Biggest Songs, From His Best *NSYNC Moments To The Solo Smashes

As rumors swirl about a new Justin Timberlake album and *NSYNC fans pray for a reunion tour, revisit the defining songs that have made JT one of pop's greats.

GRAMMYs/Sep 18, 2023 - 08:23 pm

From the moment Justin Timberlake first stepped into the spotlight at just 11 years old, his star power was strikingly apparent. Initially dabbling in country music on Star Search, he further displayed his knack for performing on The Mickey Mouse Club in 1993 and 1994 before being  recruited for the boy band *NSYNC in 1995 — and soon, he was on his way to pop domination.

As the group's popularity soared and they sold over 70 million records worldwide, so did Timberlake's solo appeal. With his curly blond hair and falsetto that would make Michael Jackson proud, he became a defining figure in the late '90s/early 2000s zeitgeist. He took the lead in several *NSYNC songs and progressively developed his songwriting skills, hinting to the world that he was a star of his own right. 

By the time *NSYNC halted in early 2002, Timberlake's solo career was not a mere possibility, but an undeniable next step. A few months later, he released his debut album, Justified, which set the stage for one of the most innovative, defining artists of his time. In the two decades since, Timberlake has released five studio albums (with a sixth reportedly on the way), sold more than 88 million records, collaborated with the likes of Jay-Z and Madonna, and won 10 GRAMMYs. It's hard to imagine pop music today without his contributions.

Although Timberlake has periodically taken some time off music to focus on his family, acting and producing, a comeback was always around the corner. Last week, for example, he reunited with *NSYNC at the 2023 MTV Video Music Awards and confirmed the release of their first new song in 20 years, "Better Place," out Sept. 29. 

He also recently reunited with Nelly Furtado and Timbaland for "Keep Going Up," the long-awaited follow-up to their 2007 smash "Give It To Me." Timbaland — a longtime collaborator of Timberlake's — further teased what's to come for JT, telling Variety that Timberlake's next album is "finished up" and sounds like "FutureSex/LoveSounds part two."

To celebrate these upcoming chapters, as well as Timberlake's boundless creativity, GRAMMY.com looks back at the most defining songs in his trailblazing career.

"Pop," Celebrity (2001)

A response to all the animosity surrounding the success of late 90s' boy bands, "Pop" gave us *NSYNC at their most "no strings attached." Composed by Timberlake in partnership with choreographer, director, and songwriter Wade Robson, it blended electropop, metal riffs and Timberlake's signature beatboxing into a thrilling, limitless portrait of what being a pop star really means.

"It doesn't matter/ 'Bout the clothes I wear, and where I go, and why/ All that matters/ Is that you get hyped, and we'll do it to you every time," Timberlake sings in the pre-chorus. As the first single off *NSYNC's last album, 2001's Celebrity, "Pop" foreshadowed key elements of Timberlake's burgeoning success — setting sights on his impending, hit-filled solo career.

"Gone," Celebrity (2001)

Another collaboration between Timberlake and Robson for Celebrity, "Gone" remains one of the most stirring ballads of the new millennium. Originally written for Michael Jackson, who passed on the offer — but later regretted it, as Timberlake told Oprah's Master Class Podcast in 2014 — "Gone" was the first and only *NSYNC single where Timberlake sings all the lead vocals and plays the music video protagonist.

Although its success led to a nomination for Best Pop Performance by a Duo or Group with Vocals at the 2002's GRAMMY Awards, the song unveiled uncomfortable feelings about the future of the group. If *NSYNC were to halt activities, it laid bare the fact that Timberlake could survive — and thrive — as a soloist just as well.

"Like I Love You," Justified (2002)

As many suspected, *NSYNC did go into a hiatus after the release of Celebrity, and Timberlake's much-anticipated solo debut came shortly after. In November 2002, he released the studio album Justified, spearheaded by lead single "Like I Love You."

Pairing his penmanship with producer duo the Neptunes, Timberlake found an exquisite recipe to express himself. "Like I Love You" posed a sleek introduction to a fully-developed star, mixing funk drums, pop beats, Spanish guitars, sultry falsettos, and a participation by hip-hop duo Clipse. Coincidentally landing the same spot on the Billboard Hot 100 as "Gone" at No. 11, "Like I Love You" showed that Timberlake was able — and ready — to hold his own.

"Cry Me a River," Justified (2002)

If "Like I Love You" was an introduction to Justin Timberlake the soloist, follow-up single "Cry Me a River" cemented him as 2002's main character. A vengeful opera inspired by his former (and very high-profile) relationship with Britney Spears, Timberlake showed his spiteful side — one that would later resurface on his second album, FutureSex/LoveSounds.

The poignancy of his feelings is aided by producers Timbaland and Scott Storch, who crafted a haunting synthscape filled with wails and warnings. In the music video, Timberlake finally sheds his good-boy image, breaking into a Spears look-alike's mansion to film steamy moments of himself with another woman. 

On top of giving the audience much to think about, "Cry Me a River" gave Timberlake one his first two solo GRAMMY Awards in 2003: the song won Best Male Pop Vocal Performance, and Justified won Best Pop Vocal Album.

"Señorita," Justified (2002)

Justified offered hit after hit, and although "Señorita" wasn't the biggest (it peaked at No. 27 on the Hot 100), it's still a Timberlake staple. The song highlighted Timberlake's commitment to go beyond expectations, as he created his own deconstructed salsa, pushing and pulling vocals around the Neptunes' unmistakable drum beats and Stevie Wonder influences.

While singles like "Rock Your Body" may have found more popularity, "Señorita" and its odd little strutting intro is instantly recognizable — and remains one of Timberlake's best displays of the fun he has in the studio . The call-and-response section at the end, where Timberlake directs "the fellas and the ladies" to sing in different vocal tones, is the cherry on top of it all.

"SexyBack," FutureSex/LoveSounds (2006)

Four years after Justified, Timberlake returned raunchier than ever: "I'm bringing sexy back," he sings in the opening line of "SexyBack," unknowingly birthing 2006's ultimate catchphrase. The first single off his highly-acclaimed sophomore album, FutureSex/LoveSounds, "SexyBack" became Timberlake's first No.1 song on the Billboard Hot 100, and further solidified the finesse of his collaborations with Timbaland.

Scurrying through a suffocating dance floor, "SexyBack" distorts everything it touches, creating a cybernetic atmosphere where Timberlake will both "let you whip me, if I misbehave" and make you "watch how I attack." Timbaland's low vocals bounce off Timberlake's high-pitched lines and make for a breathless, sweaty run.

"My Love," FutureSex/LoveSounds (2006)

Timberlake achieved his second consecutive Hot 100 No.1 with "My Love,"  a song that has been defined by many as the sequel to "Cry Me a River." Although borrowing from the same insistent staccato beats, "My Love" is rather a happier, snappier version of it. Gone is the desire for retaliation — Timberlake is now focused on the sweet highs of a promising relationship.

"All I want you to do is be my love," he sings over masterful production by Nate "Danja" Hills and Timbaland, who infuse the track with quirky distortions, beatboxing and a slow beat juxtaposed to Timberlake's frenzy. Atlanta rapper T.I. also adds contrast to the track, delivering a stack of verses that contrast Timberlake's lyrics and add to the multifaceted perceptions of love. If Timberlake's lines represent one's heart soaring with possibility, the other elements of the song keep it grounded, reminding us that true love runs steady.

"What Goes Around... Comes Around," FutureSex/LoveSounds (2006)

The true "Cry Me a River" sequel lays on the grandiose "What Goes Around... Comes Around." Despite the single's lofty arrangements and a cinematic music video starring Scarlett Johansson, Timberlake is still heartbroken.

However, instead of seeking revenge by his own hands, he now trusts karma to take care of his lover's wrongdoings. The circular, haunting motifs of the lyrics are repeated through synth loops and Turkish strings.

"What Goes Around... Comes Around" is one of FutureSex/LoveSounds' standouts, bridging the catchy sounds of Justified with more experimental nuances. It also seemed to resonate with listeners, as it landed the singer his third consecutive chart-topper.

"LoveStoned," FutureSex/LoveSounds (2006)

While violins surely can provide a sultry mood, it's not often that they will be paired with beatboxing and funky bass — which makes "LoveStoned" a peculiar feat.

One of Timberlake's most provocative tracks off FutureSex/LoveSounds, it could also be defined as a bolder cousin to 2002's "Rock Your Body" due to its rushing, disco-esque energy. Along an easygoing progression, it carries Timbaland's trademark vibes and fiery lyrics about what the internet would call a "baddie" nowadays ("She's bad, and she knows," Timberlake sings).

Originally named "LoveStoned/I Think She Knows (Interlude)," the track swiftly slows down in the last two minutes, where an Interpol-inspired guitar solo flourishes, offering a hazy conclusion to an innovative pop expedition.

"Suit & Tie (feat. Jay-Z)" The 20/20 Experience, (2013)

After wrapping up his highly successful FutureSex/LoveShow world tour in 2007, Timberlake took some time off to focus on acting and producing for other musicians. Following a six-year musical hiatus, he released his third studio album in 2013, The 20/20 Experience, led by the steamy "Suit & Tie," featuring rapper Jay-Z.

The single is anchored by samples of Sly, Slick and Wicked's 1972 song "Sho' Nuff" and swirls around a matured, glistening R&B production by Timberlake, Timbaland and J-Roc. It's the most sophisticated that Timberlake has sounded, accompanied by a fittingly classy, black-and-white music video — which won a GRAMMY for Best Music Video in 2014.

"Mirrors," The 20/20 Experience, (2013)

The second single off The 20/20 Experience, "Mirrors" was written back in 2009 and inspired by Timberlake's relationship with wife Jessica Biel, as well as his grandparents' six-decade marriage. Although the sounds harken back to "Cry Me a River" at times, the lyrics reveal that Timberlake is no longer bitter, but instead very much in love: "Now, you're the inspiration of this precious song/ And I just wanna see your face light up since you put me on/ So now I say goodbye to the old me, it's already gone."

Paired with an emotional music video, "Mirrors" is a defining landmark in Timberlake's discography, showing how personal growth impacted his music for the better. Alongside trusty producers Timbaland and J-Roc, he proved that it's possible to turn an eight-minute prog-soul aria into a timeless, effortlessly catchy love song.

"Drink You Away," The 20/20 Experience – 2 of 2 (2013)

Six months after the release of The 20/20 Experience, in September 2013, Timberlake dropped the second half of the album, The 20/20 Experience – 2 of 2. Out of its four singles (which also included "Take Back the Night," "TKO," and "Not a Bad Thing"), "Drink You Away" stands out for its adventurous streak.

Here, Timberlake recalls his Southern roots, spinning a pop twist on Memphis soul and country rock riffs. "I've tried Jack, I've tried Jim/ I've tried all of their friends/ But I can't drink you away," he sings, matching love pains to alcoholism. Once again working with producers Timbaland and J-Roc, he daringly explores new scenarios, ultimately proving that his talents can't be restrained. (The track also teased Timberlake's later collab with country crooner Chris Stapleton, as the pair mashed "Drink You Away" with Stapleton's "Tennessee Whiskey" at the 2015 CMA Awards.) 

"CAN'T STOP THE FEELING!," Trolls (2016)

Timberlake's career may have firm pillars in experimentation, but 2016's "CAN'T STOP THE FEELING!" showed that he is also a master in well-rounded bubblegum pop. In 2016, after voicing the character Branch and serving as the executive music producer for the movie Trolls, Timberlake worked with Max Martin and Shellback for the soundtrack's lead single.

The result was a simple, yet contagiously happy disco track that quickly hit No. 1 on Billboard's Hot 100, followed by several other countries' charts. "CAN'T STOP THE FEELING!" was also the top-selling song in the U.S. that year according to Nielsen Music's Year-End Report, and quickly achieved an omnipresent status; the song remains a global staple today.

"Young Man," Man of the Woods (2018)

After another long break between albums, Timberlake released his fifth LP, Man of the Woods, in 2018. The title references the meaning behind his firstborn son's name, Silas, and features some of his most experimental trials to date, despite enlisting the same longtime producers like the Neptunes and Timbaland.

As Timberlake's personal life changed with marriage and parenthood, so did his music. He plunged even deeper into his Tennessee origins and the country music of his childhood, as evidenced in singles "Filthy," "Supplies," and the Stapleton-featuring "Say Something."

However, the most essential song to understand Timberlake's current moment is the sweet, deeply personal "Young Man." It closes the album on a vulnerable note, showing the singer not as a superstar, but as a devoted father passing on his teachings. Vocal snippets from both Silas and Jessica Biel make it even more special, framing a fleeting moment into eternity.

After seeing Timberlake grow from a teenager himself to raising his own family, there's a full-circle element coloring his next steps with much expectation. What will be his next reinvention? If Timbaland's words are true, luckily we won't have to wait too long to find out.

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A composite image collage featuring images of Taylor Swift in (L-R) 2023, 2008 and 2012.
(L-R) Taylor Swift in 2023, 2008 and 2012.

Photos (L-R): Buda Mendes/TAS23/Getty Images for TAS Rights Management, Jeff Kravitz/FilmMagic, Christopher Polk/Getty Images for Clear Channel

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Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

Upon the arrival of Taylor Swift's 'The Tortured Poets Department,' take a deep dive into her discography and see how each album helped her become the genre-shifting superstar she is today.

GRAMMYs/Apr 19, 2024 - 09:32 pm

Editor’s note: This story was updated on April 19 to reflect the release of The Tortured Poets Department.

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 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.

To celebrate 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 TourTaylor 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: A Grief-Stricken Poetic Odyssey

It’s been a while since Swift has penned a full-fledged breakup album. On The Tortured Poets Department, she navigates the five stages of grief — denial, anger, bargaining, depression and acceptance — after her long-term relationship ended. Taking a page from the release of folklore and evermore, she dropped a double album and announced The Tortured Poets Department: The Anthology at 2 a.m. on release day. Throughout a total of 31 tracks, the prolific songwriter shelved the glittery pop radio-friendly tunes in favor of more subdued, synthy and heart-wrenching songs. 

On Instagram, Swift described the album as a collection of poetic songs that reflect the "events, opinions and sentiments from a fleeting and fatalistic moment in time," Swift pulled out the fountain and quill pens to craft songs about the "tortured poets" in her life — sometimes musing about lovers, sometimes taking aim at villains, and sometimes pointing the finger at herself. 

TTPD is also her most confessional album thus far. It pokes fun at so-called fans who overstep with her personal life ("But Daddy I Love Him"), says goodbye to a city that gave her a home ("So Long London"), and muses on how her own celebrity has stunted her growth ("Who's Afraid Of Little Old Me?"). To help explain this chapter of her life, Swift brings together a myriad of collaborators — from Stevie Nicks as fellow poetess, to duets with Florence Welch and Post Malone — and leans on real and fictional characters, like Clara Bow, Peter Pan ("Peter"), and Patti Smith.

In the same post, Swift declared that once she’s confessed all of her saddest stories, she’s able to find freedom. Yet The Tortured Poets Department (and its accompanying 15-track anthology) spends much time reflecting: she toys with her own lore, self-referencing past songs from albums like 1989 and poems from her reputation era. 

Fourteen years ago, Swift declared that she would never change, but she’ll never stay the same either. The Tortured Poets Department proves that in the throughline of Taylor Swift's many artistic eras is a commitment to exploration and a love of autobiographical lyricism.

All Things Taylor Swift

Backstreet Boys at the 1999 GRAMMYs
Backstreet Boys at the 1999 GRAMMYs.

Photo: Ron Galella, Ltd./Ron Galella Collection via Getty Images

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25 Years Of Backstreet Boys' "I Want It That Way": 10 Covers By Ed Sheeran, Lil Uzi Vert & More

To commemorate the anniversary of Backstreet Boys' biggest hit, take a look at 10 clever ways it's been covered and sampled — from Ed Sheeran's karaoke bit to a Weird Al special.

GRAMMYs/Apr 12, 2024 - 03:38 pm

When the Backstreet Boys released "I Want It That Way" on April 12, 1999, they likely had no idea how beloved their smash hit would still be a quarter-century later.

Written by the Swedish powerhouse team of Andreas Carlsson and Max Martin, "I Want It That Way" is undoubtedly BSB's signature hit, particularly thanks to its memorable undulating melody and its long-debated cryptic meaning. But perhaps the most surprising part of the song's legacy is how it has resonated across genres — from a TikTok cover by Korn to a hip-hop sampling by Lil Uzi Vert.

As the Backstreet Boys celebrate the 25th anniversary of "I Want It That Way," take a look at how the song has been diversely covered, lovingly lampooned and karaoke jammed by an array of voices in the business.

Weird Al Yankovic (2003)

When the king of parody songs selects one to skewer, you know it's an iconic song. Weird Al Yankovic paid tribute to the largeness of the Backstreet Boys classic when he used "I Want It That Way" as the basis of a song called "eBay" in 2003.

Yankovic's chorus replaces the original's with, "A used pink bathrobe/ A rare mint snow globe/ A Smurf TV tray/ I bought on eBay." The Backstreet Boys send up appears on Yankovic's album Poodle Hat, which won Best Comedy Album at the 2004 GRAMMYs.

One Direction (2013)

Three years One Direction formed on "The X Factor," the five lads — Harry Styles, Zayn Malik, Niall Horan, Liam Payne and Louis Tomlinson — included a cover of "I Want It That Way" on their 2013 concert set lists, the young boy band paying homage to the ones that came before them. Though their English accents poked through at times, their version was loyal to the original, and got their crowds singing along.

"Glee" (2013)

Poking fun at the presumed rivalry between *NSYNC and Backstreet Boys, a medley of the former's "Bye Bye Bye" and "I Want It That Way" was featured in Season 4, Episode 16 of "Glee." In the episode — aptly titled "Feud" — choir director Mr. Schuester (Matthew Morrison) and glee club heartthrob Finn (Cory Monteith) face off in an epic boy band battle, which ultimately proved the groups' respective music was more cohesive than divisive.

Brittany Howard and Jim James (2016)

The lead singers of Alabama Shakes and My Morning Jacket covering a boy band classic. It doesn't sound real, but Brittany Howard and Jim James did just that in 2016 when they recorded "I Want It That Way" for an animated short cartoon called "A Love Story."

Released by the fast food chain Chipotle Mexican Grill, the clip was part of a creative campaign to showcase the company's focus on natural ingredients. Howard and James highlight the poignancy and versatility of the song by adding lush string arrangements and dramatic beats.

Backstreet Boys x Jimmy Fallon and The Roots (2018)

The 2018 live performance of "I Want It That Way" by the Backstreet Boys, Jimmy Fallon and The Roots for "The Tonight Show" is arguably the sweetest rendition of the song — and not just because they're using a mini xylophone, baby tambourine and other toy classroom instruments. It's even more endearing than the previous collaborations between Fallon and Backstreet Boys: a barbershop singing version of Sisqo's "Thong Song" and a "Bawkstreet Boys" version of "Everybody (Backstreet's Back)," with everyone dressed like fluffy birds.

The 1975 (2020)

British rockers The 1975 performed a fairly faithful cover of "I Want It That Way," hitting all the high notes at several of their 2023 world concert tour stops. But it's not the first time frontman Matty Healy has hinted at the Backstreet Boys' influence on his band: he told Pitchfork in 2020 that "College Dropout-era Kanye West meets Backstreet Boys" was part of their veritable moodboard at the time when working on their own song called "Tonight (I Wish I Was Your Boy)."

Lil Uzi Vert (2020)

In 2020, Lil Uzi Vert released a rap song called "That Way" that includes a refrain of "I want it that way" sung to the tune of the Backstreet original, but with an AutoTune twist. From there, the lyrics become quite a bit naughtier than anything the BSB guys have uttered in any song.

"I don't know how [the idea of] Backstreet Boys got involved in this song, I really don't," the song's producer Supah Mario told Splice at the time. "I think it was all Uzi. But it was a game changer."

The interpolation was so good, in fact, that Nick Carter even invited Lil Uzi Vert to collaborate: "Now you're gonna have to be featured on our next album bud," he tweeted upon the song's release.

Korn (2022)

Fans of Korn know that the nu metal band has a sense of humor, but few could've expected that Jonathan Davis and crew would post a TikTok of themselves singing "I Want It That Way" in 2022.

"I never wanna hear you say… 'Worst Is On Its Way,'" reads the caption on the post, a tongue-in-cheek reference to Korn's 2022 song of the same name.

Backstreet Boys responded on the app via a hilarious Duet video with Nick Carter. In the video, Carter — who sports fabulous metal eye makeup and a long silver wig — doesn't actually say or sing anything, he just drops his jaw in amazement.

Backstreet Boys x Downy (2022)

Downy hired the Backstreet Boys to poke fun at "I Want It That Way" with the now-viral "Tell Me Why" commercial in 2022. All five members — Nick Carter, Howie Dorough, Brian Littrell, AJ McLean and Kevin Richardson — appear as a Backstreet Boys poster on the wall that comes to life, using the "tell me why" hook of their hit to engage a woman doing laundry in a conversation about washing her clothes.

As Saatchi group account director Jen Brotman told Muse at the time, the nostalgic ad also spawned some memories for the folks working on the ad campaign.

"The moment [BSB] stood in front of the camera, they rehearsed 'I Want It That Way' just to get the notes right, and we felt like we were getting serenaded on set," Brotman recalled. "We couldn't believe how emotional we all got — there may or may not have been tears in some eyes. The song has always been a karaoke favorite of the team, so we knew which 'tell me whys' we wanted them to hit, and we still can't get it out of our heads."

Ed Sheeran (2023)

When he fancies singing a bit of karaoke, Ed Sheeran loves leaning on "I Want It That Way," as the star showed at his favorite Nashville bar in July 2023. A patron caught him on camera and his happiness level is undeniable when belting out this enduring pop classic.

As Sheeran told CBS News a few months later, he grew up on the pop hits of everyone from Backstreet Boys to Britney Spears. But what he said about "I Want It That Way" specifically may be the best way to describe its long-lasting impact: "You can't be in a bar, a couple of beers in, and 'I Want It That Way' comes on and not be like, 'This is a good song.' You can't."

24 Songs Turning 20: Listen To 2004's Bangers, From "Yeah!" To "Since U Been Gone"

Taylor Swift
Taylor Swift performs during "The Eras Tour"

Photo: Ashok Kumar/TAS24/Getty Images for TAS Rights Management

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Get Ready For Taylor Swift's ‘The Tortured Poets Department’ Album Release: Everything You Need To Know

As we count down to Taylor Swift's 11th studio album release on April 19, feast on all the morsels GRAMMY.com has gathered about the Queen of Pop's upcoming "tortured poet" era.

GRAMMYs/Apr 12, 2024 - 03:19 pm

The dawn of Taylor Swift's "tortured poet" era is upon us. The reigning Queen of Pop is set to release her highly anticipated 11th studio album, The Tortured Poets Department, on Friday, April 19. 

Ever since she announced the new album during the 2024 GRAMMYs — while accepting her lucky 13th GRAMMY Award for Best Pop Vocal Album for Midnights —- Swifties have been meticulously analyzing every detail of her existence for clues about the release of The Tortured Poets Department.

Fortunately, Swift has been serving a lot of information to snack on. After revealing the cover art in an Instagram post before accepting her record breaking fourth win for Album Of The Year, she didn't stop the feast. From the full track list to a five-stage breakup playlist — and, of course, all the bonus tracks and special editions — here's all the breadcrumbs GRAMMY.com collected in preparation for The Tortured Poets Department

All The Art Is Black And White

The cover art for The Tortured Poets Department displays a black-and-white inset photo of Swift in repose on a stack of white pillows, with the album's title in uppercase white letters above her. The photography accompanying the album, including back covers and special editions, captures Swift in reflective solitude: standing before a body of water wearing an oversized white button-up, and in a pensive self-embrace against a stark black backdrop.

The photography for the album was shot by Swift's photographer since 2020, Beth Garrabrant, who also shot the covers of Swift's folklore, evermore, Fearless (Taylor's Version), Red (Taylor's Version), Midnights, Speak Now (Taylor's Version), 1989 (Taylor's Version). She's known for using a medium-format film photography that evokes an emotional closeness to her subjects — especially fitting for an album titled The Tortured Poets Department.

The Album Features Two Notable Collaborations

On GRAMMY night, alongside the album announcement, Swift posted the complete track list on her Instagram. The post included a photo of the album's back cover, showing a close-up of Swift with her hand on her forehead, overlaid with the text "I love you, it's ruining my life" in all-caps. 

The 16-track release has been split into four sides and also features collaborations with Post Malone on Side A opener "Fortnight" as well as Florence + The Machine on Side B's "Florida!!!" 

Check out the full track list:

**Side A**
“Fortnight” (feat. Post Malone)
“The Tortured Poets Department”
“My Boy Only Breaks His Favorite Toys”
“Down Bad”

**Side B**
“So Long, London”
“But Daddy I Love Him”
“Fresh Out the Slammer”
“Florida!!!” (feat. Florence + the Machine)

**Side C**
“Guilty As Sin?”
“Who’s Afraid of Little Old Me?”
“I Can Fix Him (No Really I Can)”
“loml”

**Side D**
“I Can Do It With a Broken Heart”
“The Smallest Man Who Ever Lived”
“The Alchemy”
“Clara Bow”


Bonus Tracks:

“The Manuscript”

“The Black Dog”

"The Albatross"

The Album Title Hints At Another Ex 

Mere moments after Swift dropped The Tortured Poets Department album name, the internet was ablaze with viral speculation that the title is derived from a play on ex Joe Alwyn's group chat, "The Tortured Man Club" with Paul Mescal and Andrew Scott. 

Alwyn and Mescal revealed their "club name" during an interview with Variety in December 2022 and it didn't take long for fans to connect the dots. Upon unearthing the tie-in, Swifties rushed to share memes and comment on the original interview across various social channels.

There Are Three Bonus Tracks (So Far)

Swift has revealed at least three bonus tracks for different editions of the album, each marked with its own "file name." The initial track list release, referred to as "The Manuscript," includes a bonus track sharing this name.  

On Feb. 23, Swift posted a slideshow on Instagram to promote a special edition named "The Albatross." It featured the bonus tracks and revealed the back cover, which presented a track list alongside a contemplative close-up of Swift overlaid with the question, "Am I allowed to cry?" 

Then, on March 3, she introduced the bonus track “The Black Dog” through a similar post that showcased new cover art, with the album's reverse side portraying Swift and the haunting text, "Old habits die screaming." 

Lyrics Have Already Been Shared

Unlike her previous album campaigns, Swift hasn't unveiled any music ahead of The Tortured Poets Department’s release — but she has dropped plenty of hints at the subject matter to come. Handwritten lyrics first appeared in the album announcement post, in a stack of papers inside a folder tabbed with a monogram of the album's name.

"And so I enter into evidence/ My tarnished coat of arms/ My muses, acquired like bruises/ My talismans and charms/ The tick, tick, tick of love bombs/ My veins of pitch black ink," is written above the sign-off, "All's fair in love and poetry… Sincerely, The Chairman of The Tortured Poets Department."

Then, in an Instagram story posted on April 8 — the date of the total solar eclipse — Swift shared an image of a typewriter loaded with a sheet of paper stamped with the words, "Crowd goes wild at her fingertips/ Half moonshine, Full eclipse." 

Swift Created Five Playlists To Mirror The Stages Of A Breakup

Gearing up for the release, Swift dropped a 5-part playlist series on Apple Music on April 5 featuring previously released work arranged in playlists that reflect the five stages of grief. The playlist for "Denial: I Love You, It’s Ruining My Life Songs," features hits including Midnight's "Lavender Haze," and Lover's "Cruel Summer" and "False God." 

The other playlists run through the emotional gamut with titles like "Anger: You Don’t Get to Tell Me About Sad Songs," the midpoint "Bargaining: Am I Allowed to Cry? Songs," "Depression: Old Habits Die Screaming Songs," and finally "Acceptance: I Can Do It With a Broken Heart Songs." Each one takes listeners on a Taylor Swift escapade through love won and lost, representing what many believe to be a musical voyage through Swift's stages of grief following the end of her relationship with ex Joe Alwyn. 

Each playlist also includes a description from Swift. For "Denial," it says, "This is a list of songs about getting so caught up in the idea of something that you have a hard time seeing the red flags, possibly resulting in moments of denial and maybe a little bit of delusion. Results may vary.”

As April 19 nears closer, take a deep dive into everything Swift has unleashed so far — and get ready for a lot more divulging once The Tortured Poets Department arrives.

All Things Taylor Swift

Dua Lipa
Dua Lipa performs at the 2024 GRAMMYs

Photo: John Shearer/Getty Images for The Recording Academy

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Dua Lipa's New Song "Illusion" Is Here: Listen & Watch The Video

Dua Lipa's 'Radical Optimism' era is in full swing — and now, we have a new song, "Illusion," with an aquatic-themed video. Check out the new banger, and its aqueous video, below.

GRAMMYs/Apr 11, 2024 - 10:00 pm

Now that we've absorbed "Houdini" and "Training Season," it's time for a third scoop of pop goodness from Dua Lipa.

On April 11, the three-time GRAMMY winner released "Illusion," the third single from her hotly anticipated new album, Radical Optimism, due out May 3. The percolating, endlessly catchy track arrived with a video where Lipa dances on a pool deck in Barcelona, with swimmers and surfers joining the party — a playful homage to the shark-infested waters of the album's cover.

Lipa first kicked off her Radical Optimism era in November with "Houdini," which she performed alongside the debut of "Training Season" in a head-spinning show opener at the 2024 GRAMMYs. The album follows her GRAMMY-winning second LP, 2020's Future Nostalgia.

"[Releasing the album] feels good. It feels, for lack of a better word, radically optimistic," Lipa told Billboard in March, when she also explained the inspiration for the shark fin cover art. "Throughout the whole record, there's this idea of chaos happening around and me trying to push through it in a way that feels authentic and honest to me."

Now, adding "Illusion" to the mix, Lipa has made it very clear the only way she knows how to cope with chaos is to dance — and Radical Optimism will continue the party that Future Nostalgia ignited. 

Check out the video for "Illusion" above, and check back to GRAMMY.com for more news about Dua Lipa and Radical Optimism!

Everything We Know About Dua Lipa's New Album Radical Optimism