Taylor Swift is still Taylor Swift as the release of her first single off of the “Red” album is another original with her usual resonating romantic experience all intertwined in her delivery and interpretation. The title, “We Are Never Ever Getting Back Together,” distinctly indicate her growth. Though much is expected from her latest single, her relationship with Conor Kennedy is puzzling at best. Nevertheless, we will first review Swift’s newest release and then briefly evaluate her new love.
“Red,” due out Oct. 22, is charting on Billboard top 100 as I’m penning this review. Her new track new track is far less country than the country star normally produces, featuring an electronic heavy production and “pop-ier” vocal stylings. Even with this new change, Swift’s track is undeniably girly and lovable.
The artist’s upcoming album, Red, should be equally as emotional and unbalanced as previous records, and we commend Taylor on her adventurous step outside the world of sugary country.
“We Are Never Ever Getting Back Together” definitely suggests that Swift is going to cling to that wide-eyed innocence as long as she can; and if recent rumors of her dating a 17-year-old Kennedy heir is any indication, she’s not growing up anytime soon. Swift has the power of driving guitar and layered-vocal choruses in her latest track. She debuted the song in a live web chat with fans in which she played it over her computer speakers and danced in her chair. If this song doesn’t grab you right away, just wait until you listen to it seven times in a row. Wait and tell me if you don’t start singing along in your head. It’s country pop sorcery I tell you. “I say/ I hate you/ We break up/ You call me/ I love you.”
The song is the ultimate kiss off to the boyfriend that you don’t see anymore because he said he needed space, but then he comes sniffing back around again when he wants something, promising to change. Who hasn’t been there, ladies? Even our gal T. Swift has experienced that emotion and she encapsulated that universal feeling in an upbeat, empowering song.
The hook, when she declares, “We are never, ever, ever getting back together,” is a handicapping, foot-stopping, fist-in-the-air singalong bolstered by the acoustic riff. Who knew that breaking up could feel so good? At most, it’s a sonic celebration of strength.
Swift uses the word “like” dozens of times, and has a monologue with herself and then a dialogue with her loser ex-boyfriend in the space of the song.
She even includes a couple of conversational bits; it sounds like an authentic recorded chat between her and a friend was used, too.
It’s her confessional nature, that accessible BFF-next-door vibe that makes this song one that will connect with the 15-and-under set experiencing their first kiss (and unknowingly getting set up for their first heartbreak.)
This song is exactly why Taylor Swift is the poet laureate of the teen and pre-teen set. No ifs, ands or buts.
It’s also Swift at her most poppy, with her “ooh oohs” and harmonizing sprinkled throughout. When she sings, “We are never ever ever ever getting back together,” you can envision an arena full of her disciples shrieking the lyrics til their lungs are raw.
The song may not gather in by droves new country fans but is will appeal to the adolescent girls that can’t wait to get home from school to listen to swift.
Its performance on the market is just as expected. After being serviced to radio late yesterday (Aug. 13) jointly by Big Machine and Universal Republic Records, “Never” has accrued approximately 30 million in all-format radio audience in less than 24 hours, according to Nielsen BDS. With that audience total, “Never” is already among the last seven days’ 40 most-played titles across all formats.
Also commercially released to iTunes and Google Play late yesterday, and to other digital retailers today (14), “Never” has the retail record books in its sights. Industry sources suggest that the song may sell between 450,000 to 500,000 downloads by the end of the Nielsen SoundScan tracking week on Sunday (19). That large a sum could earn “Never” the biggest sales debut for a digital song by a woman, as well as a career-high sales week for the country/pop superstar. (While pop and country versions have been released to appropriate radio formats, only the pop edit of “Never” is currently available digitally for consumers.)
If it surpasses 448,000, “Never” will earn the largest debut for a digital song by a female artist. Lady Gaga’s “Born This Way” holds the mark among women, having launched at No. 1 on Billboard’s Digital Songs chart dated Feb. 26, 2011. (Impressively, “Born” racked 448,000 after only three days on sale, having bowed Friday, Feb. 11, 2011. (The SoundScan tracking week ends on Sunday each week). Swift’s “Never” will start with a little more than six days’ worth of sales.
As for Swift, her best sales week was tallied with “Love Story,” which sold 360,000 over Christmas week of 2008 (on the Digital Songs chart dated Jan. 10, 2009). Her highest debut week came courtesy of “Today Was a Fairytale,” which sold 325,000 on the Feb. 6, 2010, Digital Songs chart.
Since her arrival in 2006, Swift has sold 17.8 million albums in the U.S. and 47.6 million digital tracks, according to SoundScan. In its 2011 year-end report, Nielsen named Swift the No. 5-best-selling digital songs artist, and the top such country act, of the digital era.
The response from radio personalities so far is positive, in fact, program directors are all saying the same thing. That is that is looks like the pop-star is over-delivering again.
I could resist concluding this review without talking about Taylor Swift and Conor Kennedy. Swift is reportedly so smitten with her 18-year-old Kennedy boyfriend that she purchased a home next door to his family.
According to several reports, Swift, 22, has been dating Conor Kennedy, son of Robert Kennedy Jr. and the late Mary Kennedy. And now the songstress has purchased an oceanfront mansion in the Kennedy compound on Cape Cod.
The 4,400-square-foot home in Hyannis Port has reportedly been on the market for some time before Swift snatched it up for $.4.9 million.
Now I know it’s her money, she’s an adult; wait one minute, that’s kind of where I’m taking this. He just turned 18; has her relationship pain driven her to want a young boy who has yet lived long enough to build a credible resume. Is Swift trying to find love or has she resorted to buying love. Well, I’m just thinking out-loud about what people are talking about behind closed doors.
It’s just a thought. We’ll see how long it lasts.
Contributor D. Chandler-