A beautiful fusion of Taylor Swift’s unrivaled lyrics and pop perfection, 

 is best described by Swift herself: “a collection of music written in the middle of the night, a journey through terrors and sweet dreams.” She truly “meets herself” on this body of work, reflecting on the contrasts between her own self-image and public perception. Every song is unique, yet the album flows as a cohesive body of work. 

, but pensive and achy. It pays homage to Lorde’s 

, hence Jack Antonoff’s genius production, and even echoes Billie Eilish and Maggie Rogers, but every song is still quintessential Swift.

begins with a bang. Track 1, “Lavender Haze,” one of the most sparkling songs on the album, sets the tone with an ad-libbed “Meet me at midnight” by Swift and thundering synth. The track explains the scrutiny she faces from her unavoidable public relationship, but how she just wants to stay in the “lavender haze” not giving a damn. It cleverly explains the anxieties and upsets to be described on 

, but how despite this she has found happiness from love, brushing away irrelevant pests. It is a pop song through and through, with its own flair and quirks – a description that describes the entirety of 

. Songs like “Karma,” “Bejeweled,” and “Paris” carry the sparkle of “Lavender Haze,” yet the entire album showcases Swift’s unmatched songwriting capabilities more than any of her other pop albums.

, and it rumbles exactly as the lyrics sound. The booming production and Swift’s belting vocals sounds like looking up at a maroon sky; you can feel her despair and sorrow. It is textbook Swift: a genius breakup song describing the most niche feeling you could never put into words on your own, yet continuing to build on her past excellence. Swift further exemplifies her virtuosity on “Question…?” where she subtly samples her own record “Out Of The Woods,” perhaps connecting the songs through a shared scenario or emotion.

Next is “Anti-Hero:” it’s so powerful, you’re forced to feel bad for the most famous woman in the world. Swift gives into the running “Taylor Swift should write a song called I’m the problem” tweet with the chorus: “It’s me, hi, I’m the problem, it’s me.” She explains how she has trouble feeling like a real person, everyone making her out to be larger-than-life, and has never trusted herself (“did you hear my covert narcissism / I describe as altruism / like some kind of congressman”). Her anxiety and breathlessness shine on the bridge, where her vocals resound the most. The production feels bland at times, slightly overdone with some excess echoes, and some lyrics almost feel like this was crafted to be the “TikTok song,” but the tune is catchy and gives a special look into Taylor’s insecurities. This overly-glitzy production is repeated in “Bejeweled,” feeling forced and clunky, and “Midnight Rain,” which would be near-perfection if just a couple synths were scaled back.

but the most disappointing part of my first listen was “Snow on the Beach (featuring Lana del Rey),” and not just because of Lana’s lack of solo vocals. The production is pretty, and the lyrics sweet, but compared to others on the album it falls flat. It certainly doesn’t hold a candle to songs like “Maroon” or “Mastermind.” It feels like a weaker retelling of Swift’s classic “Enchanted” from 

, and there was no need for Swift to reinvent the wheel with that archetype. “Snow on the Beach,” however, was beat out by “Bejeweled” for the weakest song on the album. This track is a rediscovery of Swift’s inner shine after a toxic relationship. Lyrics like “some guy said my aura’s moonstone just ‘cause he was high” and “sapphire tears on my face sadness became my whole sky” roll deliciously off the tongue, but some start to feel staggered, lacking, and clash with the production: “putting someone first only works when you’re in their top five.”

 are the “camp” songs, whether Swift intended for them to be so or not. “Karma” and “Vigilante Shit” are a burst of fun. “Karma” is peak bubblegum pop, Swift’s declaration of love for her life: her boyfriend, her cats, and a simple breeze in her hair on the weekend. It is an incredibly clever song, produced perfectly for its pure joy, and one of the top three best songs on the album. “Vigilante Shit” is the bad bitch anthem of 

antagonist caricature with lyrics like “drawing the cat eye sharp enough to kill a man” and reminding fans to “[not] get sad, get even.” Mysterious lyricism and deep bass create the love child of “Look What You Made Me Do” and some of Billie Eilish’s work. Swift’s finest work is when she leans into a character, as she has with “Blank Space” and “Speak Now” in her earlier eras. “Vigilante Shit” and “Karma” are more nuanced examples of these fun exaggerations of her life.

“Would’ve, Could’ve, Should’ve,” “Sweet Nothings,” “Labyrinth,” and “The Great War” are 

 finest lyrical works. “Would’ve” is the grown-up version of “Dear John” and one of Swift’s most exquisite breakup songs. “Bigger Than The Whole Sky” tells the tearful story of a mother who miscarried, filled with heart-wrenching metaphors. These songs feel like Swift going back to her roots, the songwriting shining and the production appropriate.

 as Swift’s finest pop work. She has grown into her insecurities, balances anxiety with maturity and grace, and appreciates her life for everything it has become. She weaves 

authenticity, pouring her entire self into the beautiful tapestry of 

Move over, "1989": "Midnights" is the new pop Bible

Sammy Rae, frontwoman of the jazz-pop band Sammy Rae & The Friends, is known for her infectiously positive energy and joyful presence on stage. Following her March 27 show at the Royale, WRBB’s Chloe Cohen sat down with her to chat about her inspiration and influences.

: What originally drew you to making music?

Growing up, my parents played a lot of classic rock and rock in my house. I was introduced to Bruce Springsteen & The E Street Band on VH1 Storytellers, where Bruce explained his writing process behind every line of some of his most iconic songs. From then, I understood the power of a song, combining music and lyrics, and took to songwriting to express myself. I had taken a few years of piano lessons as a young child and abandoned it, but I started back up to write my first songs. I mainly taught myself piano, and shortly after the ukulele, and posted my originals to YouTube. While it was where I started, there was always a loneliness to it and I always longed to work with a band.

When you’re in a songwriting slump, what do you do to get your creative juices flowing again?

I go find a body of water. I feel most inspired by water for some reason. If I’m in a particular slump and I can afford it, I like to run away to a lake somewhere for a few days and always emerge with a few songs, or at least solid starts.

If you were a type of cereal what would you be and why?

What an excellent question. I am a moderately healthy but also indulgent, crispy bowl of regular Special K rice flakes.

Who are your biggest musical inspirations?

I source inspiration from a lot of different artists. I think my goals as an artist fall in three buckets. I want to be a powerful and generous bandleader, and so I’ve always looked to Bruce Springsteen for that. I want to be an honest and convincing storyteller. For that I look to Bob Dylan, Paul Simon, Billy Joel. I want to be a gifted and ever-evolving musician with my instrument; voice. To hone my craft and challenge myself I look to the great women of jazz, like Ella Fitzgerald and Sarah Vaughn. I’m also endlessly impressed with the rock vocals and artistry of Paul McCartney and Freddie Mercury.

Which song of yours is your favorite and why?

“Saw It Coming” is an under-dog in our discography, I would say. I love that song. I think the arrangement is absolutely lovely, and the message is clear and honest. This is a song about getting what you deserve, whether that’s good or bad. Hard work and kindness pay off. Anger and selfishness come back around to you. I wrote this song with children in mind, and that was a fun prompt for me. It needed to be simple enough for a child to understand. I also wanted to address the ability that everyone has to change and improve themselves and the world around them. It’s never too late! If the clock’s still running, then the door’s still open!

I love your devotion to maintaining community, along with your mantra, mantra, “go put a smile on somebody’s face, go tell somebody they’ve got a place in this world, go tell somebody you wanna be friends with them.” How do you maintain this love and positivity during difficult times, especially as an artist during a pandemic?

It was definitely difficult to retain a community without the ability to play live and share space with them. When we transferred to a digital space, and spent a lot of time on our Instagram page, we were overwhelmed by the amount of support and engagement from our community. We released new music during the early half of 2020 and to feel the same appreciation and affirmation that we were used to when playing new songs live was very humbling. We’re extremely grateful for the Friends who stuck with us, from all over the world, from the release of 

 in 2018 through our music released in the last two years.

What is one piece of advice you would give to young queer people in the music industry?

The only choice you have other than to be authentically yourself, is to end up unhappy. I wish more than anything that I gave up on trying to fit a mold when I was younger. It wasn’t until my early 20s that I started to give myself permission to be my authentic self, in my music and in social environments. As soon as I stopped worrying about impressing others or ‘making sense’ to everyone, I started to attract the sort of people and opportunities that I had always admired from afar. I gained the relationships I had always longed for. It is incredibly taxing work to maintain a life where you are being less than your authentic self. To listen to, get to know, and decide to love yourself takes courage, but it is quite literally the easiest and most fulfilling way to live your life. I think very often about young queer people in my songwriting. I like to write the songs that I wish I had when I was younger. I think everyone in the music industry has a responsibility to advocate for the world they believe in. And I think it is the responsibility of queer artists to advocate for themselves, and carve out space for their community, with their work.

Your new album is absolutely fantastic! It sounds like it incorporates a number of different styles, including jazz. I love the incorporation of scatting into a few songs! How do you think jazz is making a comeback into modern music?

Thank you! As I mentioned, I’m deeply inspired as a vocalist by vocal jazz music. Jazz is the only uniquely American style of music. The pioneers of jazz music are Black and immigrant musicians who combined their cultures into a melting pot of a genre, as new American citizens. It has evolved as America has evolved, and I’m glad to hear more and more vocalists and musicians experimenting with it in their modern music. Jazz deserves a great deal of reverence and authenticity. ‘Jazz’ is an amalgamous and general word, but you know it when you hear it. It makes you think. I love it when a new artist is releasing work that makes their listeners think, in its words and music.

If you could collaborate with anyone right now, who would it be?

Jacob Collier. I’m very attracted to his chordal understanding and willingness to push the boundaries of genre and typical song form.

Q&A: Sammy Rae sits down for a post-show interview

No one is doing it like Samantha Bowers. Known by her stage name, Sammy Rae, she and The Friends, her band, lit up the Royale stage this past Sunday, on the last night of their “Follow Me Like The Moon” tour.

Prior to this, singer DAMOYEE and her band took the stage. She engaged the crowd remarkably well – hardly anyone was on their phone! Her jazzy, soulful tunes were similar enough to Sammy’s vibe to excite the crowd, yet unique enough to distinguish herself. She vocally scatted expertly as her fingers danced down her keyboard, evoking screams from the audience.

Beginning with her hit “The Feeling,” Sammy came onstage jumping and beaming, instantly showing her natural stage presence. Every member of the sold-out crowd was quickly captivated by her joy, screaming as though they knew her personally. She spoke with the audience like they were her best friends — everyone feeling a sense of community and joy with this woman they had just met.

Sammy sang an adorable introduction for herself and The Friends, which felt heartfelt rather than awkward and forced. Each member of the band seemed just as thrilled to be onstage as Sammy herself. Being their last show, it was an emotional one. During the introduction, along with the many other chats she shared with the crowd, Sammy became choked up, and the tears running down her face could be seen from the balcony. Her closeness with her band was evident, and is on a level unmatched by most other professionals.

During the second song, “Follow Me Like the Moon,” Sammy continued to skip around the stage, eventually lying down on her back, while still managing to holler a perfect belt. It was hard not to get chills from her voice. It had a gravelly quality while also being crystal clear and sugary sweet, which suited her funky, jazzy-pop style immaculately.

During the emotional “Living Room Floor,” Sammy took to the keyboard while her band gathered together on a rug. This ballad about growing up showcased Sammy’s songwriting chops, bringing her to tears yet again. Despite her emotion, her voice sounded identical to the studio recording of the song. By the end of the song, her band was wrapped around her in a tight embrace.

Sammy Rae raises a triumphant arm. Photo: Henry Shifrin.

From this sweeping ballad, Sammy moved into the upbeat “Jackie Onassis,” further showcasing her songwriting and performing skills. Spitting out cheeky rhymes like “She looked like Jackie Onassis / Top of her classes,” she continued to charm the audience. She wrapped a cape of rainbow sparkly streamers around her shoulders and threw a blue cap on, making the atmosphere even more fun. While playing, she informed the crowd that “This song is for the girls and the gays. We can be AND, we don’t have to be OR. To be queer is to be unlimited…If you are queer [or an ally] and you’re in this room, we love you, we thank you, and we see you. And if you’re in this room, and you’re neither of these things, then unfortunately you’re in the wrong room!” The room erupted with screams of love, the loudest they had been so far.

Sammy never let her energy drop at any point throughout the show, continuing to jump with insane height, threatening the security of the microphone pack attached to her clothes. She spun across the stage, which was covered in fan tributes, such as homemade denim jackets, flowers, and signs. Sammy also pointed out that she was wearing each and every bracelet handed to her before the show.

Towards the end of the show, Sammy covered Tears for Fears’ “Everybody Wants to Rule the World,” adding that she did not write it, but that she wished she did. Her jazzy rendition transformed the classic into a whole new song. Neither her powerful tone nor infectious energy wavered once throughout the show.

Arms go up in the crowd at Royale. Photo: Henry Shifrin.

One of the last songs, “Let’s Throw a Party,” captured the essence of the show, and her most recent album. Sammy said it was written during the chaos of 2020 when her tour was canceled, and she and The Friends faced an identity crisis of how they wanted to move forward. They ended up turning to social media, and found “amazing love and sense of community.” “Let’s Throw a Party” is the perfect mix of chaos and serenity, showing how Sammy takes the opportunity to learn lessons during moments of change. Her mindset? “If I can’t do anything about it, that means I can do whatever I want!”

It would be difficult to find another artist who promotes safety and love with the audience the way Sammy does. Her website states, “We don’t have fans, we have friends,” along with her mantra — “Go put a smile on somebody’s face. Go tell somebody they’ve got a place in this world. Go tell somebody you wanna be friends with them.” After the show, everyone exited the venue with a smile on their face, having absorbed Sammy’s energy, proud to call themselves her Friends.

Sammy Rae & The Friends light up the Royale

Despite some catchy hooks and a cohesive narrative, on his new album 

 Alex O’Connor, known as Rex Orange County, plays it safe. O’Connor has always charmed listeners with his distinctive, soothing, bedroom-pop vibe, and he maintains this formula for success with his fourth album. 2019’s 

 received generally favorable reviews, with critics praising his developing talent. Unfortunately, 

 — it maintains the same warmth and perseverance, but shows no development from O’Connor as a musician.

Many fans expected something dramatic from O’Connor, perhaps a heart-wrenching breakup album, following the end of his latest relationship. 

however, sounds very similar to much of his previous work, and many of the songs feel lyrically shallow. There is a theme of perseverance through stress and depression, but tracks like “SHOOT ME DOWN” and “7AM” describe O’Connor’s feelings of anxiety without explaining where they come from. They have the potential to make the album much deeper, but they fall short lyrically. And despite his distinct bouncy voice, O’Connor’s vocals on these tracks lack power and the emotion to be really convincing.

“KEEP IT UP,” the opening track, and “AMAZING,” feel like classic O’Connor: bubbly, yet gentle — easy listening pop perfection. “KEEP IT UP” sets the tone for the album: post-breakup depression. O’Connor sings about doing his best and not owing anyone anything, which are prominent themes throughout the album. It could be Benny Sings’ production, but “AMAZING” sounds like a slightly more amped-up version of O’Connor’s 2017 smash hit, “Loving Is Easy.” Is this a nod to his past success, or does O’Connor rely on his successful model too rigidly? Either way, “AMAZING” is a hit. The instrumentals fill it with love and the strings sound absolutely beautiful. O’Connor’s use of strings on numerous tracks adds some cohesiveness, and succeeds in adding emotion and joy where his vocals may lack.

The strings at the end of “KEEP IT UP” lead into track number two, “OPEN A WINDOW (feat. Tyler, the Creator),” also known as the best song on the album. The bass synth in the production adds some dimension to the track, which sounds more distinct than any of the other songs. Sonically, it feels like classic O’Connor with a twist, which the rest of the album failed to accomplish. O’Connor sings about feeling pressure to change who he is and struggling to find sources of happiness. Tyler’s verse showcases the deepest lyrics we see on the album, with colorful metaphors such as “Like the middle car on freeway pile up with semi-trucks / Open door, but you can’t, try to run, but you pant.”

Despite falling short lyrically, there is cohesion through O’Connor’s use of strings and the anxious mood as a result of his breakup. “SHOOT ME DOWN,” the second-to-last track, reflects O’Connor’s emotional battle the most of any song on the album. He urges his new girl to work through the bad sides of their relationship, and feels scared of the state he falls into when his heart gets broken. It pushes themes of self doubt heard in “KEEP IT UP,” and embraces a newfound sense of self-confidence, bringing the album full-circle. It leads into the last track, “WHO CARES?” — where O’Connor accepts that he might as well do whatever he wants because he is in charge of his own life, and who and what matters to him. It’s not the self-love anthem it could be to close out the album with a bang, but it is a sweet wrap-up to the themes mentioned throughout the prior ten songs.

, yet overall, many of the tracks are too similar, or just not special or inventive enough, to be memorable. The emotional struggles O’Connor describes are touched upon too lightly, lacking the depth the songs need to be truly compelling. 

is a good, fun album, but O’Connor fails to fulfill his potential to surpass his past work.