Why ‘Folklore’ is a Storytelling Masterpiece
Written by Allegra Scappa-Pattichis
Why ‘Folklore’ is a Storytelling Masterpiece
And Arguably, one of Swifts Best Full-length Albums
So you thought 2020 was irredeemable, I don't blame you. Like so many right now, you just want to get out of this downer and press the rewind button and go back to 2015. Well, before you fetch the remote, Taylor Swift's new, full-length studio LP ‘Folklore’ may have just saved this year from being a complete and utter flop! Besides the very different release process and promotions that this record had, what stands out from Swift’s eighth full-length album is the lyrics and the very vivid storytelling that paints the pictures right in front of you. ‘Folklore’ is your pill of escapism, a venture into a world where the line between fantasy and reality is blurred.
Swift’s surprise Album drop was not only unexpected by even her most hard-core fans- “swifties”- but with no Singles or Previews leading up to the album drop, all were shocked when Swift announced on her Social Media that her brand new, full-length album was to be released in 48 hours. With its woodsy black-and-white art, not to mention its title, ‘Folklore’ declares itself as a “back to basics” or “stripped down” revelation. But the album’s more complex than that. Contemporaries such as Lana Del Rey and Lorde very much influence the overall eerie, gutting, and homesick feel to this album. ‘Folklore’ exceeds expectations and definitely does not disappoint.
On first listen, ‘Folklore’ was a harsh juxtaposition from the pop-drenched ballads of Swift's past projects such as ‘Lover’ or ‘1989’. However, the subtle melodies accompanied by powerful, convincing storytelling, exhibits the best of what many have previously known- Swift is a lyrical genius and a force to be reckoned with in the ever-evolving music industry. The contrast between Swift's previous albums, shows how flexible she is as an artist. From country (‘Taylor Swift’, ‘Speak Now’, ‘Red’), pop (‘Fearless’, ‘1989’, ‘Reputation’, ‘Lover’), to alternative folk, ‘Folklore’ is a representation of Swift’s growth not only lyric-wise but as a storyteller and consequently as a person.
‘Folklore’ gives us an entire experience in a matter of an hour. The lyrics are so magnificently written, it’s shocking how instantly it touches listeners just on the first play. However, there is more to this exceptionally, arguably flawless LP. As many have pointed out, Swift’s lyricism is quite different from her previous albums coming out of the 2010s. Artists in the contemporary music scene are constantly trying to change their image and sound. It is not atypical for someone like Swift to escape back to her nostalgic, euphoric, and aesthetically pleasing folk sound of the early to late 2000s.
At first glance, ‘Folklores’ tracklist is what you would expect from a traditional Taylor Swift album. Though, as you delve deeper into the meaning of distinct songs and the lyrics associated with them, a narrative of love, loss and female empowerment starts to unveil itself. What is so captivating about ‘Folklore’ is not only the way Swift involves herself in and out of the album, but how she symbolises many narratives through a set of specific, beautifully crafted songs.
“Last great American Dynasty” and “Mad Women” which although separate and in no way correlate an overarching constant theme in the album, both speak very explicitly regarding vivid anecdotes to prominent feminist themes such as gendered double standards and as Swift proclaimed, the idea of “Misogyny [being] ingrained in people from the time they are born.” And is institutionalized through “the double standards in headlines, the double standards in the way stories are told, the double standards in the way things are perceived.”
“The last great American Dynasty” follows the story of Rebekah Harkness, a patron of the arts, and founder of the Rebekah Harkness Foundation. In 2015, Swift bought a Rhode Island mansion once owned by Rebekah Harkness. Taylor draws subtle comparisons between herself and Rebekah Harkness in the song. Swift and Harkness were and are often a target of harsh criticism, bias and mostly unwarranted attacks from the media and in turn society and how they perceive the respective individuals.
On ‘Mad Woman”, Swift connects the concept of a delusional woman with the song being a larger critique of male gaslighting and it feels as if Swift is expressing the idea that if a woman is emotional or angry, she gets labelled as "crazy" especially in the public eye. “Mad Woman" is dark, cynical, and angry but most of all, has a direct message that is in no way glossed over or held back- women will not be labelled and moulded in male-dominated species.
Both “Last great American Dynasty” and “Mad Woman” reinforce the reclaimed understanding that to silence or censor powerful women, will consequently turn them “mad”- as they should be- and their - past compliance and perpetuation are now met with anger and outrage!
The core of ‘Folklore’ is a three-song story arc about an intense young romance. Swift explained that the arc was called the Teenage Love Triangle, with each of the three songs told from a different person’s perspective. Many listeners have concluded that the three songs included are “Cardigan,” “August,” and “Betty.” The characters in the story are named Inez, James, and, unsurprisingly, Betty; “Cardigan” is from Betty’s perspective while “August” is from Inez’s, and “Betty” from James’s. Inez is implied to be the woman who had a summer fling with James, causing a rift between him and Betty, his true love.
Although prevalent and beautiful songs in the context of the album, “August” and “Cardigan”, are unmatched by the ballad “Betty” which stood out to many fans and critics alike. “Betty,” many fans speculate, not only climaxes the “Teenage Love Triangle” but “Betty” first hits the ear as a tale of forbidden love with a blunt queer subtext. Language about “closet hideaways” and “chosen families” elsewhere on the album also hints at a queer subtext. There is always at least one song on a Swift album to fuel the fire of her apparently questionable sexuality and “Betty” is perhaps the most explicit one so far. Nonetheless, James, whether he’s a 17-year-old boy or a 30-year-old woman, is a flawed narrator but with Swift’s sound lyrical choices, the listener feels a certain sadness towards the storyteller and unlike with the pride splurged ‘Lover’, her identity, “fluidity”, feels open-hearted and candid which makes “Betty” arguably the best song on the album
‘Folklore’ marks Swift's impeccably smooth transition to yet another genre of music. The instrumentation, the vocals and above all, the lyrics, together create a story unmatched by any of her previous ventures into the world of storytelling within a musical project. A lyrical masterpiece with phenomenal production where each track holds its individual place on the album, this might just be the best album of Swift’s entire career and continues her upward artistic trajectory.