Sitting in a hot tub on “Saturday Night Live,” Will Ferrell and Rachel Dratch stole the sobriquet “love-ah” from the lexicon of acceptable terms of endearment — and, by golly, Taylor Swift is reach…
Sitting in a hot tub on “Saturday Night Live,” Will Ferrell and Rachel Dratch stole the sobriquetis reaching into that oily water and stealing it back. The word doesn’t sound unctuous on her lips as she repeats it in the gentle, waltz-time title track of “Lover,” her seventh album.
Having established that singer-songwriter-ly reflection is still deeply part of Swift’s brand, it’s hard to overstate how much “Lover” is characterized by an unalloyed ebullience that the singer has only rarely allowed herself. The mood is set right at the outset with “I Forgot That You Existed,” placed there as the one real point of continuum with the Kanye-gate themes that sparked much of “Reputation.
The absence of longtime producer stalwarts Max Martin and Shellback from this album’s credits was a cause for concern. But another returning producer,, and some new additions, Joel Little and the pairing of Frank Dukes and Louis Bell, are up to the ear-candy task. Antonoff in particular is peaking as a specialist in quirky Top 40 fodder; equal to the charms of “Paper Rings” and “I Think He Knows” is “Cruel Summer” — co-written by another client, St.
Swift does find some things to get mad about in “Lover”; it’s just not boys. A good chunk of the album is given up to statement songs, some of which are played for funanger, like the GLAAD-happy, homophobe-baiting “You Need to Calm Down.” An even more deceptively up-tempo tune, “The Man,” addresses how women suffer from sexism’s double standards when their power moves render them “a bitch, not a baller.
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