Understanding how Taylor Swift constructs her songs helps explain her phenomenal popularity

In 2023, Forbes published an article about Taylor Swift that included the following mind-boggling statistic: 55 per cent of adults in the United States identify themselves as Swift fans.

In the wake of her recent epic world tour — which drew 10 million attendees and earned billions of dollars — Swift has clearly emerged as a modern singer-songwriter whose success and renown has no equal.

The same article reports that 73 per cent of those surveyed insisted that “Swift’s music is a driving force of their support of her.” But the abundant discourse surrounding Taylor Swift in the popular press, academia and online seems to be about everything but her songs.

In place of critical engagement with her musical work, Swift is credited for creating her own economic ecosystem wherever she goes, lauded for being a shrewd and powerful businessperson, described as an empowered and empowering feminist icon or branded a quintessential entertainer.

At this moment, Swift resides at the very apex of modern celebrity culture. Ironically, this makes it especially tricky to engage with Swift as a musician, which is the very basis of her fame.

As a musicologist, music critic and musician who studies and teaches popular music, there are ways to examine the musical meaning of pop songs. These approaches provide useful insights; after all, wasn’t it the music that drew audiences to Swift in the first place?

Studying Swift

Swift is increasingly taken seriously in the halls of academia. A number of universities offer courses dedicated to Swift, but typically not to her music as such: rather, many of these courses take a literary approach to her songs or a broadly sociological approach to her as a pop culture phenomenon, or they foreground her business model.

In his book There’s Nothing Like This, Kevin Evers, senior editor of the Harvard Business Review, regards Swift as a “strategic genius.” He examines how she identifies and exploits untapped markets, making creative and marketing pivots at key moments while protecting her image as a self-made, authentic singer-songwriter.

Evers focuses on non-musical elements when discussing Swift’s songs. He claims that Swift’s fans interpret her lyrics in a manner akin to the literary analysis of complex poems. Swift’s songs intrigue fans, Evers insists, primarily because they offer insight into her personal life, romantic travails and struggles with fame.

Of course, words are an important element of pop songs, and for many fans, the words of a song constitute its “about-ness.” But a pop song is a sonic object, not simply a delivery system for words.

Lyrical discourse analysis

Song lyrics are not poems, although they may be “like poetry,” as musicologist Dai Griffiths has argued. He points out that when we insist on thinking of lyrics as poetry, we lose a systematic understanding of how words function in songs. The placement and sound of words, and how they relate to the music, are key elements of a song’s musical structure and sense.

It is this discussion of the musical sense and meaning of Swift’s songs that is largely neglected.

The academic study of classical music offers a wealth of analytic methodologies; there are ways to examine the musical meaning of pop songs that do not over-analyze the song. These include looking at elements like form, orchestration, melody, harmony and rhythm.

A song creates space: its formal layout and the rhythm of musical phrases provide the space for words — what Griffiths calls the “verbal space” — which have their own rhythms and structures and work within but also push against the boundaries of this space.

Form and space

Consider Swift’s chart-topping 2014 single, “Shake it Off,” re-released as “Shake it Off (Taylor’s Version)” in 2023. This song, while popular, was criticized for its repetitiveness and lack of emotional depth.

“Shake it Off” doesn’t seem to have much lyrical content: the verses are short, rounded off with simple slant rhymes, and much of the created space seems to be filled with repetition: “I’m just gonna shake, shake, shake, shake, shake/Shake it off, shake it off.”

Likewise, the song is built musically on some very basic and limited material, namely three chords, a short, unvaried drum loop and a spare bass line provided by a baritone saxophone.

The lyrics touch lightly on Swift’s response to fame and her critics, but it is their syllabic density that contributes to the song’s development and momentum. This gradually and sytematically increases over the first two verses and pre-chorus, until arriving at the chorus, where the space is filled almost completely.

The density of the music also increases in the choruses, with a thicker bass part, added vocals and a brass fanfare.

While “Shake it Off” is repetitive with little harmonic and melodic variety, it is also quite subtly counterbalanced with a variety of sounds, textures and densities. These move the song forward and importantly, help mark off the song’s formal sections.

These compositional and production details contribute to the song’s overall meaning. But how the words participate in the unfolding of the song-as-music, or the creation and shaping of the musical space, is also meaningful. The thrust of the lyrics emphasize Swift’s detachment from gossip and criticism: “I never miss a beat/I’m lightnin’ on my feet” and “But I keep cruisin’/Can’t stop, won’t stop groovin’”.

These lyrics are reinforced by the propulsive musical momentum of the song created by the gradual thickening of the text and music. Even with this thickening, the song still remains quite light, emphasizing the lyrical claims of detachment and distance from negativity.

The chorus, by contrast, with its deeply resonant bass, layers of background vocals and added brass, is musically the heaviest part of the song, underwriting Swift’s assertive claim that she will “shake off” the lies and gossip that plague her as a celebrity pop star.

Understanding Swift’s success

Collecting some musical information about Swift’s songs is not an abstract or intellectual activity; rather, it is essential information if we want to better understand Swift and her success in terms of her song writing.

I’m not making an argument here for or against Swift’s music; I’m neither a “Swiftie” nor a detractor. Nor have I offered anything like a comprehensive or definitive analysis of a song in this short article.

But I do think we should be curious and better understand Swift’s success, especially the popularity of her music across generations and demographics. How her songs are actually put together — how they work as music, in tandem with words, to tell stories — is an essential part of that understanding.