She has set herself apart and, implicitly, above. And crucially, she is more or less alone, not part of any pop movement of the day. “Someday I’ll be living in a big ol’ city” she taunted a critic on “Mean,” from her 2010 album “Speak Now” now here she is, making the New York spotlight her backlight. Swift hasn’t been the type to ask permission in her career, but she has long seen herself as a stranger to the grand-scale fame that New York signifies. That’s “1989,” which opens with “Welcome to New York,” a shimmery, if slightly dim celebration of the freedom of getting lost in Gotham: “Everybody here was someone else before/And you can want who you want.” (As a gesture of tolerance, this is about 10 steps behind Kacey Musgraves’s “ Follow Your Arrow.”)
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Now, with that place more or less in the rear view, she is free to make the John Hughes movie of her imagination. In Nashville, she’d learned all the rules, all the back roads. Swift that placed her in tabloid cross-hairs just like any other global star.īut it also afforded her the opportunity once again to be seen as a naïf. It was a molting, the culmination of several years of outgrowing Nashville combined with interest in Ms. “1989” (Big Machine), though, her fifth album and the first that doesn’t at all bother with country, manages to find a new foe. It’s a big box, and a porous one, but a box all the same. That she would one day abandon country has long been clear. But from the inside looking out, even as the genre’s biggest star, she was always something of an underdog, multiplatinum albums and accolades be damned. From the outside, she looked like a conquering titan. It made her a transgressor, which means even her most benign songs could be read with mischievous intent. She faced almost no direct competition there, and it’s a genre that embraces success, grudgingly if need be. And yet country was also a hospitable host body. She could break the rules and make people nervous simply by showing up. For almost a decade, Taylor Swift has been waging, and winning, a war, smiling all the while.Ĭountry music has been - was - a natural enemy for her: hidebound, slow moving, lousy with machismo.
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