Post Malone's stage name might have come from a randomized rap name generator, but his ascent to fame has been anything but spontaneous.

The 10-time GRAMMY nominee's very first single, 2015's "White Iverson," landed him a record deal with Republic Records and hinted at a star in the making. While his 2016 debut album, Stoney, spawned two other massive hits, it was 2018's beerbongs & bentleys that solidified Malone's place as one of the biggest rappers of his generation.

Debuting at No. 1 on the Billboard 200, beerbongs & bentleys scored Post Malone his first chart-topping album as well as his first No. 1 hit with "rockstar"; the album also earned Malone his first four GRAMMY nominations in 2019, including Album Of The Year. The next year, "rockstar" became Malone's first diamond-certified single in November 2020 — and not even three years later, he's now the artist with the most RIAA diamond singles of all time.

Commercial success aside, Malone's artistry speaks for itself. Taking a closer look at Malone's discography reminds us of his versatility, whether he's leaning into hip hop's flashier side or letting down his guard for confessional introspection. As his creative prowess continues to expand, so does his creativity and vulnerability.

In honor of his new album, AUSTIN, dig into these 12 Post Malone essentials as a reminder of what makes the rapper so special.

"White Iverson," Stoney (2015)

For Malone, his saucin', swaggin', and ballin' all started with "White Iverson." The song introduced Malone's hazy, echoing sound that he's carried through all four of his albums — an inventive style that has made him stand out from the get-go.

It also quickly ushered him into the mainstream, peaking at No. 14 on the Billboard Hot 100 after its casual 2015 SoundCloud release. And though the track is named after basketball star Allen Iverson, Malone's song predicts his own fame-filled future: "When I started ballin,' I was young/ You gon' think about me when I'm gone."

"Feeling Whitney," Stoney (2016)

Starting memorably with the click of a lighter, it might seem like "Feeling Whitney" would be a fitting album opener. But instead, the track gently brings Stoney to an earnest close. After a weighty hour of trap-pop, the guitar-led song offers a serene self-reflection on Malone attempting to find peace.

The falsetto-heavy track sees Malone lean into his country sensibilities wholeheartedly. But besides suiting the singer's gruff yet tender voice well, the genre shift exhibits his versatile ingenuity. Whether he's rapping over a booming 808 bass or sitting down for a smoke with his guitar, Malone knows what works, and "Feeling Whitney" shows off an especially sincere side of his enterprise.

"I Fall Apart," Stoney (2016)

Even though Malone's raw vocal delivery makes "I Fall Apart" a clear standout from his debut album, the track wasn't initially released as a single. But when a video of the song's performance went viral a year after Stoney's release, "I Fall Apart" signed on as the album's sixth and final single.

The song has rightfully become a staple of the rapper's setlists. Malone's impressive live performances of the track spotlight how he captivates best with outright intensity, as he meanders through melancholy before bursting with uncontrolled emotion at the chorus. Only Post Malone could unironically bellow "You was my shorty, I thought" in an opportune heartbreaking tone.

"Stay," beerbongs & bentleys (2018)

While Malone's voice folds into trap and R&B faultlessly, "Stay" gives the rapper more room to breathe. An acoustic, folky ballad might seem out of left field for Malone, but the essential track features some of his most vulnerable songwriting and vocals to date.

In many of his live performances, including at the 61st GRAMMY Awards, Malone sings "Stay" solo while playing guitar, and it's on his setlist for good reason. Whether it's performed live in venues or living in your headphones, the song offers up a moment of sad solace and reflection, and it spotlights Malone's ability to capture bittersweetness perfectly.

"Paranoid," beerbongs & bentleys (2018)

When Malone performed "Paranoid" live at Rolling Loud Miami in 2021, he shared with the crowd that the track was inspired by losing trust in his best friend in the music industry. While many of his songs discuss both challenges with fame or relationship betrayals, "Paranoid" merges the two subjects in an honest search for hard-to-find peace.

The beerbongs & bentleys track feels more down-to-earth than grumbling, even as Malone hides behind tinted glass. But "Paranoid" cracks open a window into Malone's world, and the sympathy-inspiring candor in his hunt for relief hits a sweet spot that makes this track an easy standout.

"rockstar" featuring 21 Savage, beerbongs & bentleys (2018)

Malone's "rockstar" chronicles the extravagance of a celebrity lifestyle as if the rapper already knew this track would be his first No. 1. The glossy song makes the most of predictable rap motifs ("I've been f— h— and poppin' pillies," Malone riffs at the chorus) and greets 21 Savage's characteristically hypnotic monotony with open arms.

Mastering the art of flexing, the track's leisurely pace helps round out the kaleidoscopic trends of beerbongs & bentleys. But "rockstar" also stands its ground alone, solidifying itself as a Posty essential not just with its chart position, but with its entrancing trap allure that lends itself well to 21's feature.

"Sunflower" featuring Swae Lee, Hollywood's Bleeding (2018)

Crowned as the ultimate summer jam back in 2018, "Sunflower" highlights Malone's effortless ability to glide across genres — and here, his pop prowess takes centerstage. The unexpected gem from Marvel's Spider-Man: Into the Spider-Verse earned two GRAMMY nominations in 2020 for its balmy, casual radiance.

With Malone's candid verse complementing Swae Lee's brisk delivery, this inviting collaboration feels carefree in all the best ways. And their musical partnership clearly resonated: "Sunflower" is certified 18-times platinum, making it the all-time highest certified song by the RIAA.

"Take What You Want," featuring Ozzy Osbourne and Travis Scott, Hollywood's Bleeding (2019)

Hollywood's Bleeding** **boasts 10 features across its 17 tracks. But one of the album's most seamless comes  halfway through the record, as Ozzy Osbourne and Travis Scott join Malone on the haunting "Take What You Want."

The track stands out in Malone's discography for the way it easily bends to each artist's distinct style (and for its last-minute electric guitar solo). It smoothly shifts between hip-hop, metal, and pop, lending itself to all three musicians in a cohesive manner. And, as it exemplifies Malone's big-picture adaptability, "Take What You Want" never loses its full-hearted intensity.

"Hollywood's Bleeding," Hollywood's Bleeding (2019)

"Everyone's gone, but no one's leavin'," Malone laments in his 2019's trap-pop title track of Hollywood's Bleeding. Spinning an ominous narrative with vampiric motifs, the album's opener reflects not just on Malone's personal tumultuous experience with fame, but others' broadly as well.

Capturing the feeling of being tethered to something inescapable, "Hollywood's Bleeding" lays the groundwork for the rest of Malone's album, presenting as one of his clearest thesis statements yet. The two-and-a-half minute song almost feels like the condensed narrative of a short horror film, and Malone's evocative storytelling and compelling delivery have us seated in theaters.

"Circles," Hollywood's Bleeding (2019)

"Circles" is somewhat of an outlier in Malone's discography — but, perhaps ironically, it's also one of his biggest songs. Set to an uncharacteristically soft melody, the beloved track features a gentler, more soulful Malone reflecting on letting go. The musician is still as frank as ever, but "Circles" stands out with its palatable universality — Malone is especially sharp with regret and downhearted nostalgia.

The sunny song was nominated for two GRAMMYs in 2021 (Record Of The Year and Song Of The Year), showing that Malone's lean into soft pop's accessibility with full emotional force suits him well.

"Reputation," Twelve Carat Toothache (2022)

Melodrama bleeds from Twelve Carat Toothache's regret-filled opener, "Reputation." Over slow, meandering piano, Malone moodily contemplates the price of fame, dissecting how his celebrity status has severely impacted his perception of himself.

The track is uncharacteristically minimal in terms of production, yet "Reputation" holds listeners' full attention thanks to Malone's stirring vocal and emotional performance. Its moments of pause incur self-reflection, and the song's stream-of-consciousness style makes it one of Malone's strongest shows of vulnerability. The singer doesn't hold back, even as he chokes on cigarettes: "I was born, what a shame."

"Mourning," AUSTIN (2023)

Malone is no stranger to discussing struggles with sobriety in his music, and his openness is what makes so much of his music compelling. Following Twelve Carat Toothache's "Love/Hate Letter to Alcohol," the second single off his upcoming album, AUSTIN, continues writing this deeply honest letter.

Malone's radio-ready "Mourning" showcases the singer's ability to break down more serious topics over sunnier tunes, making this song an unmistakable Posty essential. And, while the track plays on morning/mourning as facing the regret of a wild night out, the singer still presents an almost comedic self-awareness: "Got a lot of shit to say, couldn't fit it in the chorus" or "The way I gotta flex you'd think I did pilates." Even when Malone is tackling darker content, he always finds a way to tap into lightheartedness.

5 Takeaways From Post Malone's New Album, 'Twelve Carat Toothache'

Since Post Malone burst onto the mainstream nearly a decade ago, he has continued to flaunt his genre-defying brand of musical brilliance. For his latest venture, it’s time for gold grills and cowboy hats: Posty’s going country.

Though his musical origins are in rap, Malone has seamlessly traversed pop, R&B, and blues, always hinting at his deep-seated country roots along the way. In the last year, his long-standing affinity for country music has moved to the forefront, with appearances at the CMA Awards, a country-tinged Super Bowl LVIII performance, and a feature on Beyoncé’s COWBOY CARTER. Next up, he’ll make his debut at California's Stagecoach Festival alongside some of country music’s biggest names — and pay tribute to some of the genre greats.

While it’s unclear exactly what the Texas-raised hitmaker will be singing, his 45-minute set on Saturday, April 27 is labeled “Post Malone: Performs a special set of country covers.” After years of performing covers for and alongside country stars, the performance is arguably one of the most full-circle moments of his career thus far.

Ahead of his Stagecoach premiere, read on for some of Posty's biggest nods and contributions to the country music scene over the years — that could culminate in his own country album soon enough. 

A Slew Of Classic Country Music Covers

Malone has a history of channeling his musical heroes, often pulling on his boots to deliver heartfelt covers. He's paid tribute to country icons many times, including covers of Hank Williams Jr.'s classic, "There's A Tear In My Beer” in a 2018 fan-favorite video. 

During a 2022 Billy Strings tour stop at The Observatory in Los Angeles, Malone made a surprise appearance and used the moment to honor Johnny Cash alongside Strings. The pair delivered an acoustic duet of Cash's infamous murder ballad, "Cocaine Blues."

And just this year, Malone covered Hank Williams Sr. during a surprise performance at Nashville's Ryman Auditorium. On April 3, he closed out the annual Bobby Bones' Million Dollar Show with a rendition of Williams' "Honky Tonk Blues." 

A Longtime Kinship With Dwight Yoakam

Malone has long collaborated with Dwight Yoakam, marking a friendship and professional partnership that spans his career. Yoakam is a GRAMMY-winning trailblazer known for his pioneering blend of honky tonk, rock and punk that shook up the country scene in the 80's with his blend of "cowpunk." 

The pair frequently joined forces on Yoakam's SiriusXM Radio spot "Greater Bakersfield," where one standout 2018 appearance features Malone covering Yoakam's own “Thousand Miles From Nowhere” as the two laugh, strum and belt out the lyrics together in perfect harmony. 

On April Fool's Day in 2021, they playfully teased fans with the prospect of a double country album release — which may not seem so far-fetched three years later.

It's fitting that Malone would find such deep inspiration in folks like Yoakam, a man who first rode onto the country scene with a new take on a traditional sound. Much like Yoakam bridged generations with his music, Malone brings a new yet familiar energy to the country scene, embodying the spirit of a modern cowboy in both style and sound.

A Country Tribute To Elvis

Malone teamed up with Keith Urban for a duet rendition of "Baby, What You Want Me to Do" during the "Elvis All-Star Tribute Special," which aired on NBC in 2019. Originally written and performed by blues musician and songwriter Jimmy Reed, "Baby, What You Want Me to Do" was famously covered by Presley and commemorated through Urban and Malone's unique blend of modern guitar-slapping country-rock charisma. 

That wasn't Malone's only country collab that night, either. He also covered Presley's "Blue Suede Shoes" alongside Blake Shelton, Little Big Town and Mac Davis.

A Celebration Of Texas With Country Legends

In March 2021, Matthew McConaughey and his wife, Camila, hosted the "We’re Texas" virtual benefit concert, to help Texans coping with that year's disastrous winter storms during the Covid-19 pandemic. 

Following performances by George Strait, Kacey Musgraves, Willie Nelson, and Miranda Lambert, Malone — who moved to Dallas when he was 10 — served as the night's final entertainer. He performed Brad Paisley's "I'm Gonna Miss Her" followed by Sturgill Simpson's "You Can Have The Crown" backed by Dwight Yoakam.

A Rousing Tribute At The 2023 CMA Awards

At the 2023 CMA Awards, Malone joined country stars Morgan Wallen and HARDY on stage to cover late icon Joe Diffie‘s “Pickup Man” and "John Deere Green." Malone's first-ever performance at the CMAs felt more like a reunion than a debut, with Malone right at home among his collaborators.

“I’ve manifested this for years," HARDY told Audacy's Katie Neal. "Slight flex here, but I started following [Post Malone] when he had like, 300k Instagram followers. I was on the 'White Iverson' terrain, like the first thing that he ever put out and I was like, ‘this is dope,’ and I've been with him ever since.” 

After the performance, Malone hinted to Access Hollywood that it might be the start of a new chapter. When asked if a forthcoming country album would be in the works, he answered, “I think so. Yes, ma'am.” (More on that later.)

A Countrified Appearance At Super Bowl LVIII

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Before Beyoncé announced COWBOY CARTER in a Verizon Super Bowl ad, Malone offered Super Bowl Sunday's first country-themed clue at the top of the night with his tender rendition of "America The Beautiful." Sporting a bolo tie and brown suede, Malone delivered his patriotic performance with a characteristically country drawl while strumming along on acoustic guitar before Reba McIntire's star-spangled rendition of the national anthem. 

Malone's performance followed in the footsteps of a long line of country artists who have kicked off the national sporting event, which started with Charley Pride in 1974 and has included Shania Twain, Faith Hill and Garth Brooks. 

A Tip Of The Hat To Toby Keith

During a performance at the American Rodeo in Arlington, Texas, on March 9, Malone paid tribute to the late Toby Keith, who passed away in February. After pouring one out and taking a sip from a red solo cup (an homage to Keith's playful hit of the same name), Malone performed a cover of "As Good As I Once Was" for the Texas rodeo crowd.

His TikTok video of the performance quickly garnered over 4 million views, sparking enthusiasm among fans for more country music from him. "Sir. I'm now begging for a country album," wrote one user in a comment that has received over 11,000 hearts.

A (Potential) Full-On Country Album

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His much-teased country album may not be too yonder. After confirming that a country album was in the works during a live Twitch stream on his channel, Malone has spent much of this year teasing forthcoming new work. There is no scheduled album release date as of press time, but Malone has shared snippets of new songs including “Missin’ You Like This” and dropped sneak peeks of collaborations with Morgan Wallen, HARDY, Ernest, and Luke Combs. 

In February, Malone posted a sample of a collaboration with Combs, "I Ain't Got A Guy For That," the first in a series of song snippets shared across his social channels. 

On March 20, Malone posted a reel to Instagram featuring a video of himself seated on a stool, smoking a cigarette and singing along to a track that opens with Wallen singing, “It takes two to break a heart in two,” as Malone comes in to deliver a blow with the line, “Baby you blame me, and baby I’ll blame you." The track, shared with the caption (and supposed song title) "I had some help," was first announced in a now-deleted social media post by Wallen at the end of 2023. 

No matter when the album may come, Post Malone’s Stagecoach set will only up the anticipation for some original country music from the star — and from the looks of it, fans and genre stars alike are more than ready for it.

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"All’s fair in love and poetry," Taylor Swift declared when she announced her 11th studio album, The Tortured Poets Department, at the 66th GRAMMY Awards. 

Taken from the proverb "All’s fair in love and war," the pop phenom gave us a fair warning: there’s no limit to what she’ll go through to achieve her ends. 

On the freshly released The Tortured Poets Department, Taylor Swift has a few things to get off her chest — so much that it required a surprise second record, The Tortured Poets Department: The Anthology, adding an additional 15 songs. The sprawling album is a masterclass in songwriting and so personal that it's analogous to performing a post mortem autopsy; The musical shapeshifter is here to exhume the tortured poets of her past and make peace with them. 

In an Instagram post, Swift called the record an anthology that reflects "events, opinions and sentiments from a fleeting and fatalistic moment in time - one that was both sensational and sorrowful in equal measure." With the release of Tortured Poets, "there is nothing to avenge, no scores to settle once wounds have healed…our tears become holy in the form of ink on a page." 

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Describing Swift’s work as a collection of tracks about boys and break-ups has always felt underbaked and disingenuous, but much of The Tortured Poets Department is just that. In true Swiftian fashion, she plays on preconceived theories, opting to toy with the five stages of grief — denial, anger, bargaining, depression, and acceptance — after a break-up, bringing listeners along on a peregrination exploring the depths of her relationships and personal growth. 

Analyzing her feelings to craft songs is muscle memory at this point, but with every release Taylor Swift somehow does so with a refreshed and reimagined perspective. The stories she shares with her fans in TTPD might’ve made her feel like she died, but she’s a revenant no longer tortured by the whims and words of other poets.

With The Tortured Poets Department open for business, read on for five key points to consider when listening to Taylor Swift’s new album.

It's Much More Than A Break-Up Record

Although the record orbits around a break-up, The Tortured Poets Department demonstrates Swift's ability to shapeshift as a songwriter. A song about a break-up is layered, typically forcing Swift to unveil her own flaws while wearing her broken heart on her sleeve.

The fifth track on a Taylor Swift album is typically the most emotionally cutting, and "So Long London" is no exception. On the standout track, Swift views the loss of her lover and the breakdown of her relationship to Joe Alwyn through the lens of the city they once shared together. It’s a cathartic release for Swift who point-blank notes the pain they inflicted upon her and how, in turn, they ended up just as heartbroken as she is. 

The high-spirited "Down Bad" and subdued "The Smallest Man in The World" are two sides of the same coin. The former is hopeful that a love could be reignited, whereas the latter sees Swift at her grittiest, pointing the finger at her former lover. "Smallest" poses a series of questions, accusing her ex of being a spy who only wanted to get intel on her.

On piano ode "loml," Swift looks back at the "get-love-quick" schemes she first wrote about in "Why She Disappeared," a poem for reputation. The poem originally considered the death of her reputation and how its aftermath made her stronger while she was simultaneously nursing a new relationship. 

The track has a similar energy to fan favorite "All Too Well," but is even more accusatory — seemingly unlocking another level of her songwriting prowess as she teeters between seething rage and mourning with lines about picking through a "braid of lies" spewed by a partner who "claimed he was a lion" but is really a coward. While Swift is honest about never feeling a loss so deeply, she maturely accepts that the effort she put into keeping the relationship afloat was all she could do. It’s distinctly different from the battles she bravely fought in "The Great War," "Daylight" and "long story short."

She's Grappling With Fame & Owning Her Choices

That Taylor Swift struggles with her own celebrity and the public's perception is nothing new. On reputation’s album prologue, she stated, "We think we know someone, but the truth is that we only know the version of them they have chosen to show us." 

On The Tortured Poets Department, Swift has never been more honest about her feelings towards those who claim to know better than she does. On "But Daddy I Love Him," she doubles down on these frustrations, taking aim at self-righteous "vipers" and "judgmental creeps" who condemn her choice of a lover. Swift holds nothing back, declaring "I'll tell you something about my good name/It's mine alone to disgrace."

Swift stated that her life sometimes feels like a public autopsy with people psychoanalyzing her every thought and feeling. Following the release of Midnights and her larger-than-life Eras Tour, Swift’s been in her "glittering prime" despite experiencing her long-term relationship ending and the media hysteria around it would make anyone feel the opposite. "I Can Do It With A Broken Heart" confirms fans' theories that the GRAMMY winner was indeed putting on a brave face.  

On "Clara Bow" — a song named for the silent film actress whose public life was so scrutinized that she admitted herself into a sanatorium — Swift sings "Beauty is a beast that roars/Down on all fours/Demanding, 'More.'" Again, Swift plays with the double-edged sword of fame, comparing herself to a performing circus animal — something she sings about in "Who’s Afraid Of Little Old Me?" 

Taylor Swift Gets By With A Little Help From Her Friends

Swift has always looked up to and honored the greats in her music and art, and Tortured Poets is no exception. She recruits rock icon and songwriter Stevie Nicks to help build TTPD’s world, and Nicks penned a poem featured in Swift’s physical album. Written in Texas, the poem is "For T and me..." and tells the tale of two ill-fated lovers. (Swift also namedrops Nicks in "Clara Bow," touching on the comparisons made between Clara, Nicks and herself.)

There are two additional guest appearances on TTPD: Post Malone appears on "Fortnight" and Florence Welch of Florence + the Machine is featured on "Florida!!!" (a surprisingly toned-down lead single). Swift particularly shines when paired with Welch, and the soaring "Florida!!!" sees their intertwined vocals creating a sound as infectious as the "drug" they sing about.

J.M. Barrie’s Peter Pan inspired Swift on "cardigan" ("Tried to change the ending/Peter losing Wendy") but now the Lost Boy gets his own track on The Anthology’s "Peter." The ever-inquisitive Swift pleads, "You said you were gonna grow up/Then you were gonna come find me" and confronts this man who wouldn’t grow up. She even puts herself in the shoes of Wendy who waited for Peter Pan to return but has grown tired of waiting.

TTPS Is All Quill And Fountain Pen Songs

A few years ago, Taylor Swift categorized her songwriting according to three writing devices: glitter gel pens for fun tracks, fountain pens for songs using modern imagery and lyrics, and quill pens for tracks with flowery, figurative language. Although devoid of the glittery gel pen songs that comprise many of Swift's hits, TTPD and its accompanying anthology are steeped in fountain and quill writing. 

Most of The Tortured Poets Department are fountain pen tracks — thanks to 2024 Producer Of The Year Jack Antonoff’s sleek pop production and synth use. Tracks like "Fresh Out The Slammer" and "My Boy Only Breaks His Favorite Toys" are sharp, snappy, tongue-in-cheek tales of love affairs about to begin and coming to an end with the same sonic exuberance of past Swift & Antonoff songs, like "Out of the Woods" and "Getaway Car."

Tracks on The Anthology, mostly produced by Aaron Dessner, are stripped-back, folk-tinged quill songs brimming with sorrow and harrowing thematics and dives even deeper into her chaotic psyche. "The Prophecy" sees Swift beg to change a prophecy that has been laid out ahead of her — likely stemming from the pressure of being a global superstar when all she wants is to be loved.

This Is The End Of An Era (Or A Chapter)

To her occasional disdain, Swift's highly personal songwriting has created a global obsession with her inner life.  Although she's tired of the "public autopsy," Tortured Poets offers her time to reflect on the "events, opinions, and sentiments" over a time that was equal parts transient and transformative. 

From her growth from the country-twanged teen singer on her self-titled debut to woman who is fearless in her pursuit of happiness, love, and peace, Swift has transformed time and time again. By viewing her work in eras — or, in this case, a chapter in a book of her life — it’s clear that Swift sees this current chapter of her life coming to a close, turning the last page and no longer longing to look back. 

One could argue that Swift is an unreliable narrator, only ever presenting her side of the story. But she says that while considering the pain described on TTPS, many now-healed wounds turned out to be self-inflicted. With these stories immortalized, Taylor Swift has spoken her saddest story and is now "free of it." The tortured poets and poems will no longer take up space in this next chapter of her life.

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

We’ll be wandering through this Department for the foreseeable future.

Not only has Taylor Swift unleashed an absolute maelstrom with her 16-song new album, The Tortured Poets Department; she’s dropped a whopping 15 additional tracks via its expanded version, The Tortured Poets Department: The Anthology.

Clearly, there’s an absolute treasure trove here — for Swifties and the merely Swift-curious alike. A mostly downbeat and discursive affair, The Tortured Poets Department feels like the shadow cast by the gilded, giddy, exhilarating Eras Tour, which isn’t over yet. (Which makes all the sense in the world, as she was simultaneously chipping away at the album while crisscrossing the globe.)

If you’re reading this, you’re probably bracing yourself for this long, solemn, darkly funny journey. Don’t go alone: here’s a brief breakdown of what you should know going in. (And keep checking GRAMMY.com, as there’s plenty more Taylor and Tortured Poets coming your way.)

The Tracklisting

As previously reported, here’s the standard tracklist for The Tortured Poets Department:

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"

The Expanded Tracklisting

Aside from The Black Dog Edition, The Albatross Edition, The Bolter Edition, and The Manuscript Edition — which consist of the standard edition of the album with its titular bonus track — here are the additional tracks that complete The Tortured Poets Department: The Anthology.

"The Black Dog"

"Imgonnagetyouback"

"The Albatross"

"Chloe or Sam or Sophia or Marcus"

"How Did It End?"

"So High School"

"I Hate It Here"
"thanK you aIMee"

"I Look In People’s Windows"

"The Prophecy"
"Cassandra"
"Peter"
"The Bolter"
"Robin"

"The Manuscript"

The Guests

Physical copies of The Tortured Poets Department feature an original poem by the one and only Stevie Nicks.

Titled "For T and me…," the poem starts off with "He was in love with her / Or at least she thought so / She was brokenhearted / Maybe he was too." It goes on to trace a doomed relationship — one party being "way too hot to handle" and the other "way too high to try."

Elsewhere, Post Malone lends a haunting vocal to opener and lead single "Fortnight," and Florence + the Machine elevate "Florida!!!".

https://www.youtube.com/watch?v=FiqoZyauhdA

The lion’s share of the album was produced by Jack Antonoff; Aaron Dessner handled a handful of tunes on the standard edition and the majority of The Anthology.

The Easter Eggs

Where do we begin? For starters, most of the songs seem to be directed at ex Matty Healy of the 1975, but Joe Alwyn and Travis Kelce seem to pop up here and there as well.

In the title track, Swift describes embracing the "cyclone" of a relationship with a partner akin to a "tattooed golden retriever." And they’d be remiss to compare themselves to Patti Smith or Dylan Thomas or any other famously tortured poet of the 20th century: "We’re modern idiots… we’re two idiots."

Elsewhere, Lucy Dacus of boygenius — and Antonoff himself — pop up ("But you tell Lucy you’d kill yourself if I ever leave / And I had said that to Jack about you / So I felt seen").

Far be it from us to speculate on exact subjects, but there are shades of depression ("You sacrificed us to the gods of your bluest days"), a betrothal that wasn’t to be ("You swore that you loved me but where were the clues? / I died on the altar waiting for the proof") and the racket of fame ("The circus life made me mean").

As usual, Swift has dumped puzzle pieces on the carpet — daring her ardent, global fanbase to start at the edges and work their way to the center. But never to this degree, across such an ocean of material.

Tortured poets — and those who fall in love with them — assemble!

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

"Genres are a funny little concept, aren't they? In theory, they have a simple definition that's easy to understand. But in practice, well, some may feel confined."

With those words, spoken on "SPAGHETTII" by Linda Martell — the first commercially successful Black female artist in country music and the first to play the Grand Ole Opry solo — Beyoncé provides a proxy response to her original call on Instagram 10 days before COWBOY CARTER was released: "This ain’t a Country album. This is a “Beyoncé” album." 

She delivered on that promise with intent. Through a mix of homage and innovation, Beyoncé's latest is a 27-track testament to her boundless musicality and draws  from a rich aural palette. In addition to its country leanings, COWBOY CARTER includes everything from the soulful depths of gospel to the intricate layers of opera. 

Beyoncé's stance is clear: she's not here to fit into a box. From the heartfelt tribute in "BLACKBIIRD" to the genre-blurring tracks like "YA YA," Beyoncé uses her platform to elevate the conversation around genre, culture, and history. She doesn't claim country music; she illuminates its roots and wings, celebrating the Black artists who've shaped its essence.

The collective album proves no genre was created or remains in isolation. It's a concept stoked in the words of the opening track, "AMERIICAN REQUIEM" when Beyonce reflects, "Nothing really ends / For things to stay the same they have to change again." For country, and all popular genres of music to exist they have to evolve. No sound ever stays the same.

COWBOY CARTER's narrative arc, from "AMERICAN REQUIEM" to "AMEN," is a journey through American music's heart and soul, paying tribute to its origins while charting a path forward. This album isn't just an exploration of musical heritage; it's an act of freedom and a declaration of the multifaceted influence of Black culture on American pop culture.

Here's a closer look at some of some of the musical genres touched on in act ii, the second release of an anticipated trilogy by Beyoncé, the most GRAMMY-winning artist of all-time: 

Country 

Before COWBOY CARTER was even released, Beyoncé sparked critical discussion over the role of herself and all Black artists in country music. Yet COWBOY CARTER doesn't stake a claim on country music. Rather, it spotlights the genre through collaborations with legends and modern icons, while championing the message that country music, like all popular American music and culture, has always been built on the labor and love of Black lives. 

It's a reckoning acknowledged not only by Beyoncé's personal connection to country music growing up in Texas, but the role Black artists have played in country music rooted in gospel, blues, and folk music. 

Country legends, Dolly Parton ("DOLLY P", "JOLENE," and "TYRANT"), Willie Nelson ("SMOKE HOUR" and "SMOKE HOUR II"), and Martell ("SPAGHETTII and "THE LINDA MARTELL SHOW") serve mainly as spoken-word collaborators, becoming MCs for Queen Bey. Some of the most prolific country music legends receiving her in a space where she has been made to feel unwelcome in music (most notably with the racism surrounding her 2016 CMA performance of "Daddy Lessons" with the Dixie Chicks) provides a prolific release of industry levies. Martell, a woman who trod the dark country road before Bey, finally getting her much-deserved dues appears as an almost pre-ordained and poetic act of justice. 

"BLACKBIIRD," a version of the Beatles' civil rights era song of encouragement and hope for the struggle of Black women is led softly by Beyoncé, backed by a quartet of Black female contemporary country songbirds: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts. 

Beyoncé holds space for others, using the power of her star to shine a light on those around her. These inclusions rebuke nay-sayers who quipped pre-release that she was stealing attention from other Black country artists. It also flies in the faces that shunned and discriminated against her, serving as an example of how to do better. The reality that Beyoncé wasn't stealing a spotlight, but building a stage for fellow artists, is a case study in how success for one begets success for others. 

Read more: 8 Country Crossover Artists You Should Know: Ray Charles, The Beastie Boys, Cyndi Lauper & More

Gospel, Blues, & Folk (American Roots)

As is Beyoncé's way, she mounts a case for country music with evidence to back up her testimony. She meanders a course through a sequence of styles that serve as the genre's foundation: gospel, blues, and folk music.

"AMERIICAN REQUIEM" and "AMEN" bookend the album with gospel-inspired lyrics and choir vocals. The opener sets up a reflective sermon buoyed by  the sounds of a reverberating church organ, while the closer, with its introspective lyrics, pleads for mercy and redemption. The main verse on "AMEN", "This house was built with blood and bone/ The statues they made were beautiful/ But they were lies of stone," is complemented by a blend of piano, and choral harmonies. 

Hymnal references are interlaced throughout the album, particularly in songs like "II HANDS II HEAVEN" and in the lyrical nuances on "JUST FOR FUN." In the later track, Beyoncé's voice soars with gratitude in a powerful delivery of the lines, "Time heals everything / I don't need anything / Hallelujah, I pray to her." 

The gospel-inspired, blues-based "16 CARRIAGES" reflects the rich history of country songs borrowing from the blues while simultaneously calling back to songs sung by field laborers in the colonial American South. "Sixteen dollars, workin' all day/ Ain't got time to waste, I got art to make" serves as the exhausted plea of an artist working tirelessly long hours in dedication to a better life. 

Rhiannon Giddens, a celebrated musician-scholar, two-time GRAMMY winner, and Pulitzer Prize recipient, infuses "TEXAS HOLD 'EM" with her profound understanding of American folk, country, and blues. She plays the viola and banjo, the latter tracing its origins to Sub-Saharan West Africa and the lutes of ancient Egypt. Through her skilled plucking and bending of the strings, Giddens bridges the rich musical heritage of Africa and the South with the soul of country, blues, and folk music.

Pop, Funk, Soul & Rock 'n' Roll 

All in, Beyoncé is a pop star who is wrestling with labels placed on her 27-year career in COWBOY CARTER. Fittingly, she brings in two other pop artists known for swimming in the brackish water between country and pop, Miley Cyrus and Post Malone. Her intentional inclusion of two artists who have blurred genres without much cross-examination begs the question, Why should Beyoncé's sound be segregated to a different realm? 

On "YA YA" Linda Martell returns as the listener's sonic sentinel, introducing the track like a lesson plan: "This particular tune stretches across a range of genres. And that’s what makes it a unique listening experience." The tune sinks into the strummed chords of Nancy Sinatra's "These Boots Are Made for Walkin'" before leaping into a fiery dance track that features reimagined lyrics from the Beach Boys, with soulful vocal flourishes and breaks that show the throughline connection between '60s era rock, funk, and pop music.

Robert Randolph lends his hands on "16 CARRIAGES" with a funk-infused grapple on his pedal-steel guitar. It's a style he honed through his early years touring and recording with his family band and later in his career as an in-demand collaborator working with names including the Allman Brothers, and Norah Jones. 

The lesson is solidified as the album transitions into an interlude on "OH LOUISIANA," featuring a sped-up sample of a classic track by Chuck Berry. This moment emphasizes the pop superstar's nod to civil rights era music history, spotlighting a controversial artist celebrated for his pioneering contributions to rock 'n' roll. (It's a part of music history Beyoncé knows well, after starring as Etta James in the 2008 film Cadillac Records, a veiled biopic of the legendary Chicago label Chess Records.)

Classical & Opera

Opera was missing from many listeners' Beyoncé Bingo card, but didn't surprise those that know her background. Beyoncé was trained for over a decade starting at an early age by her voice teacher David Lee Brewer, a retired opera singer who once lived with the Knowles family. 

COWBOY CARTER gives sing-along fans a 101 opera class with "DAUGHTER." In Italian, Beyoncé sings passages from the 1783 Italian opera "Caro Mio Ben," composed by Giuseppe Tommaso Giovanni Giordani. The aria is a classic piece of vocal training that fittingly shows off her full range — taking us back to the earliest days of her vocal teachings.

Hip-Hop & R&B

Midway through the album on "SPAGHETTII" Beyoncé announces, "I ain't no regular singer, now come get everythin' you came for," landing right where expectations have confined her: in the throes of a romping beat, experimenting with sounds that blend hip-hop with R&B and soul. The track notably highlights the talent of Nigerian American singer/rapper Shaboozey, who also shows up to the rodeo on "SWEET HONEY BUCKIN'" brandishing his unique mix of hip-hop, folk-pop, and country music. 

Beyoncé worked with longtime collaborator Raphael Saadiq on this album, a career legend in the R&B industry, who lends his mark to several tracks on which he wrote, produced, and played multiple instruments. Beyoncé also utilizes the Louisiana songwriter Willie Jones on "JUST FOR FUN," an artist who draws on a contemporary blend of country, Southern rap, and R&B in the hymnal ballad. 

The violin-heavy "TYRANT" and "SPAGHETTII" both underscore hip-hop's long love affair with the classical string instrument (See: Common's "Be," and Wu Tang Clan's "Reunited" as the tip of that particular iceberg) with a blend of soulful R&B lyrics paired with beat-based instrumentalization. 

In a world quick to draw lines and label sounds, Beyoncé's COWBOY CARTER stands as a vibrant mosaic of musical influence and innovation. Ultimately, Beyoncé's COWBOY CARTER isn't seeking anyone's acceptance. As a Texan once told she didn't belong, her critical response claps back at this exclusion.  It's also a reminder that in the hands of a true artist, music is limitless.

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