Entertainment, Music

Taylor Swift’s New Single Receives Mixed Response From Critics

0 70

By Ben Thompson


After weeks of dropping hints on social media, Taylor Swift finally released her new single ‘ME!’ on April 25th. The upbeat lead single from her forthcoming album features Panic! At the Disco frontman, Brendon Urie, and a music video containing more Easter eggs than a talking rabbit could handle.

The video – crammed full of pastel colours and kittens – had already broken the record for number of views for a solo artist within twenty four hours of release, receiving 65 million views on its first day on YouTube, beating the record 55 million previously held by Ariana Grande’s ‘Thank U Next’.

The response from Swift’s fans has been overwhelmingly positive – the music video currently has over 3 million likes on YouTube, and many have praised the lighter tone of the song and video, standing in stark contrast to the darker aesthetic of Swift’s previous album, Reputation (2017).

The critical reception of the new single, however, has been polarising to say the least. Positive reviews have highlighted the song’s upbeat spirit: “It’s the momentary escape we all need”, wrote Forbes’ Hugh McIntyre. Yet, in the eyes of some critics, it is precisely this tone which formed the single’s downfall. Giving the single 2 stars, The Daily Telegraph‘s Kate Solomon quipped: “The low point might be Swift shouting out, “Spelling is fun, kids!” like a manic summer camp counsellor because she’s noticed that “you can’t spell awesome without me”.

Admittedly, even some of Swift’s fans have pointed out that the lyric in question is overly sappy. Regardless of its decisive reception, however, this shift in tone marks a significant development in Swift’s music. Reputation (2017) was released in the aftermath of a feud with Kim Kardashian and Kanye West that resulted in Swift being branded a ‘snake’ and a ‘liar’ online. The resulting darkness stemmed from the fact that Swift was producing content for a public that had seemingly turned against her.

Now, however, the public is back on her side. Swift was named one of Time magazine’s 100 Most Influential People of 2019, was given the opportunity to write for Elle and is due to star in the upcoming adaptation of the Andrew Lloyd-Webber musical, Cats. 

The dreamy, wide-eyed single reflects Swift’s new general demeanour. It seems that the public have generally moved beyond using Swift as a punchline, and are finally starting to take her seriously. She has plenty to be happy about – and it shows.

About the author / 

Ben Thompson

Modern History student. Mostly writes about politics and social issues.

Leave a reply

Your email address will not be published. Required fields are marked *

More News Stories:

  • Review: The Kooks @ Castlefield Bowl

    By Sarah LanePhotography: Georgina Hurdsfield An undeniably well-received gig. If you can find a ‘Best Of Noughties Indie’ playlist that doesn’t feature at least one Kooks track, we will eat the nearest hat. The charts are littered with Sheeran and Swift. Only Stormzy gives relief. Seeking substance, we turn to Best Of playlists: now available…

  • A Look At Manchester Met’s Best Moments from Graduation 2019

    By Shawna Healey Tendai Blessing Torevasei who received three ‘U’ grades at A level, graduated from Manchester Met with a 2:1 in Environmental Management and Sustainability. Tendai made an entrance when she stepped on the stage to accept her degree, where she “hit the woah” and accidentally dropped her cap! Computer Science (BSc) graduate Sean…

  • Hello Cosmos: Psychedelic Post-Punk for an Interstellar Frontier

    By Daniel Broadley  Who said punk is dead? People have been repeating the mantra since 1978, but maybe it never died. Or, maybe it did and was reincarnated through an interstellar wormhole in the form of Hello Cosmos and their trippy new single ‘Frequency Fields’. As part of the new seven-track EP Run For President which…

  • Review: The Nico Project | Manchester International Festival

    By David Keyworth Maxine Peake enters Stoller Hall through one of the oak-panelled doors, to the side of the audience. She is wearing a long black coat. When she walks on stage she seems to have forgotten her lines and she speaks in her natural Lancashire accent. The stage is full of wind and string instruments…