The sound of young Nashville sounds like good pop
Swift’s second album continues the appealing pop of her debut. Her teenage voice is still a bit reedy, but the brassy edge provides balance to the perfectly arranged and polished productions. It’s hard to understand why Swift is lauded with country music airplay and awards, since her music and subject matter only occasionally feint to country music’s roots (is that a mandolin playing on “Breathe†and an atmospheric hint of pedal steel on “Tell me Why�). This isn’t a criticism of a Nashville artists pushing into pop territory, it’s a wonder how and why a talented pop artist such as Swift positions her music in country music channels. One can only assume Swift was weaned on the later works of Faith Hill.
Swift solves one of the main problem facing teenage artists by writing her own material. Eighteen’s an awkward age for a songwriter, though: too old to sing cute songs of youth, but not yet old enough to really sing with the experience of age. She walks the tightrope with songs of longing, broken hearts, love, and preternatural experience that can speak to both aspirational teenage fans and older listeners, and she’s convincing. Her nostalgic “The Best Day†is a standout with its gentle arrangement and warm memories of caring parents. Some may by tempted to lump Swift with the interchangeable starlets churned out by Disney, but despite the adolescent focus of her lyrics, she’s emotionally deeper than Miley Cyrus or Selena Gomez, a better singer and writer than Britney, and she has grander artistic ambitions than all three put together. [©2008 hyperbolium dot com] 