The Tortured Poets Department

''The Tortured Poets Department'' is the eleventh studio album by the American singer-songwriter Taylor Swift, released on April 19, 2024, through Republic Records. It was expanded into a double album two hours after its release, subtitled ''The Anthology'', containing a second volume of songs.

Swift began writing ''The Tortured Poets Department'' shortly after finishing her tenth studio album, ''Midnights'' (2022), and continued developing it during the Eras Tour in 2023. She conceived ''The Tortured Poets Department'' as a "lifeline" songwriting project amidst the heightened fame and media scrutiny ensuing from the tour. The songs introspect on her public and private lives, detailing tumult and sorrow via motifs of self-awareness, mourning, anger, humor, and delusion. Produced with Jack Antonoff and Aaron Dessner, the album is a minimalist synth-pop, folk-pop, and chamber pop effort with rock and country stylings. The composition is largely mid-tempo, driven by a mix of synthesizers and drum machines with piano and guitar, whereas the visual aesthetic draws mainly from dark academia.

The album broke various sales and streaming records, regionally and globally. It achieved the highest single-day and single-week streams for an album on Spotify, and topped the charts across Europe, Asia-Pacific, and the Americas. In the United States, ''The Tortured Poets Department'' opened with first-week 2.6 million album-equivalent units, including 1.9 million pure sales—Swift's biggest sales week and record-extending seventh release to open with over a million units. It topped the ''Billboard'' 200 chart for a career-best 14 weeks, whereas its tracks made Swift the only artist to monopolize the first 14 positions of the ''Billboard'' Hot 100, with the single " Fortnight" leading.

Upon the album's release, critical reception was polarized. The majority of reviews were positive, praising Swift's cathartic songwriting for its emotional resonance and wit, but some found the album too long and lacking profundity. Subsequent assessments appreciated the album's musical and lyrical nuances that emerged upon further listens, and disputed the credibility of the initial critiques for focusing on Swift's public image rather than the album's artistic merit. Swift included songs from the album in the revamped set list of the Eras Tour, starting in May 2024.

Background and conception

Swift released her tenth studio album, ''Midnights'', on October 21, 2022, to critical praise and commercial success. In 2023, she released two re-recorded albums, '' Speak Now (Taylor's Version)'' and ''1989 (Taylor's Version)'', as part of her "Taylor's Version" re-recording project after a dispute over the ownership of her first six studio albums. Both re-recordings were released amidst Swift's sixth headlining concert tour, the Eras Tour. At the 66th Annual Grammy Awards on February 4, 2024, Swift won Best Pop Vocal Album and Album of the Year for ''Midnights''. During her acceptance speech for the former category, she announced ''The Tortured Poets Department'' as a new original studio album that she had worked on since 2022. This announcement was met with surprise from her fans, who had anticipated her to announce the re-recording of her 2017 album, '' Reputation'', based on her social media clues.

Swift began conceiving the album immediately after submitting ''Midnights'' to her record label, Republic Records, and continued working on it in secret throughout the U.S. leg of the Eras Tour in 2023. While she was creating the album, her dating life continued to be a widely covered topic in the press, who reported on Swift's relationships with Joe Alwyn, Matty Healy, and Travis Kelce. At the Eras Tour concerts in Melbourne in February 2024, Swift said that ''The Tortured Poets Department'' was a "lifeline" for her and an album that she "really needed" to make, reflecting on how it made her confirm that songwriting was an integral part of her life. In an Instagram post, Swift described the album as "an anthology of new works that reflect events, opinions and sentiments from a fleeting and fatalistic moment in time—one that was both sensational and sorrowful in equal measure".

Composition

Themes and lyrics

The standard edition consists of 16 songs; Swift wrote three of them herself and co-wrote the rest mostly with Jack Antonoff and Aaron Dessner. Post Malone featured on and co-wrote " Fortnight", and Florence and the Machine featured on " Florida!!!", which was co-written by the band's frontwoman Florence Welch. Swift produced all tracks with Antonoff and Dessner.

The album is rooted in personal songwriting, exploring Swift's introspections on the events in her private and public lives. She was inspired by her tumultuous relationships and the public perception of her celebrity to create lyrical narratives that were messy, unbridled, and unguarded, containing meta-references to her personal life through allusions and name-dropping. Heartbreak is the primary topic, expressed via themes such as delusion, anger, mourning, and death. While the lyrics evoke vulnerable and devastating sentiments, they also incorporate humor and hyperbole. Critics found them either self-aware or self-conscious. Swift considered the album a cathartic exercise and described the content as "fatalistic" with overarching themes of "longing, pining, lost dreams".

Critics characterized ''The Tortured Poets Department'' as a post-breakup album. Ann Powers wrote in NPR that throughout the record, "Swift is trying to work out how emotional violence occurs." In '' The Conversation'', the music professor Samuel Murray opined that the album uses melodrama as a narrative device to "celebrate emotional vulnerability as she shares her innermost thoughts". '' Business Insider'''s Callie Ahlgrim described the album's content as Swift's "messiest, horniest, and funniest". In '' The Independent'', Helen Brown suggested that Swift's songwriting draws on her country music roots to explore detail-heavy narratives. While some critics argued that the album is autobiographical in nature, ''Pitchfork'''s Shaad D'Souza argued that it straddles the confessional and the fictional storytelling.

Production and music

Mainly produced by Swift and Antonoff, the album's standard portion is primarily synth-pop, with a mid-tempo production incorporating subdued synths and sparse drum machines. Critics found the production minimalist and compared this synth-based sonic approach to the sound of ''Midnights''. '' PopMatters'''s Igor Bannikov described it as "simplistic, indie-ish, and almost muted", '' The Guardian''s Alexis Petridis wrote that it additionally features "the glossy 80s-influenced pop-rock" of Swift's 2014 album ''1989'', and '' The Times''' Will Hodgkinson described the album as an amalgam of synth-pop and 1980s power ballads. Swift mostly sings in her lower vocal register to deliver rap-like, conversational verses. As per Murray's analysis, the album uses some of Swift's familiar devices such as one-note melodies and recitative delivery with a conversational rhythm. The music is "downcast", departing from danceable pop, as per '' The Economist''.

Several tracks feature a more stripped-down instrumentation, driven by piano or guitar, with stylings of varied genres; " But Daddy I Love Him" and " Guilty as Sin?" incorporate live drums and influences of country and rock, " Down Bad" evokes R&B in its dynamic shifts and cadences, "Fresh Out the Slammer" features Western-rock electric guitars, and "I Can Fix Him (No Really I Can)", "Florida!!!", and " Who's Afraid of Little Old Me?" experiments with Southern gothic. Tyler Foggart of '' The New Yorker'' dubbed ''The Tortured Poets Department'' a mix of dream pop and Southern gothic infused with some "country-ish vibes", while Josh Kurp of '' Uproxx'' thought that the album was genre-less.

The second part of the double album, subtitled ''The Anthology'', mostly consists of chamber pop and folk-pop piano ballads. Swift and Dessner produced the majority of the second volume, which has an acoustic, folk-oriented sound instrumented by picked acoustic guitar, soft piano, and subtle synths, which critics likened to the sound of Swift's 2020 albums '' Folklore'' and ''Evermore''. Neil McCormick of '' The Daily Telegraph'' argued that this mellower sound allows for more subtlety in the lyrics, which explore Swift's character studies ("Cassandra", "Peter", "Robin") and self-reflection ("The Albatross", "The Bolter", "I Look in People's Windows", "I Hate It Here").

Promotion and release

The lack of an apostrophe in the official title, as in ''The Tortured Poets' Department'', was the subject of a debate over grammatical correctness. Scholars stated that Swift employed ''Tortured Poets'' as an attributive noun, as in the case with the 1989 drama film '' Dead Poets Society'', and not as a possessive noun that warrants an apostrophe. The cover artwork, photographed by Beth Garrabrant, is a black-and-white glamor photo shot of Swift lying on a bed wearing black lingerie: a see-through top and high waist shorts, from the Row and Yves Saint Laurent. Both the artwork and title were parodied by numerous brands, organizations, sports teams, and franchises, and inspired numerous memes. Media outlets described the album's visual aesthetic as gothic, especially dark academia.

After the Grammy announcement, Swift revealed the standard track listing via social media on February 6, 2024. Swift announced four physical editions that were each titled after a corresponding bonus track: "The Manuscript", "The Bolter", "The Albatross", and " The Black Dog"; she announced the latter three editions during the Australian and Singaporean shows of the Eras Tour. She partnered with Target for an exclusive "Phantom Clear" collector's vinyl edition.

The album was promoted on digital platforms like Apple Music, Spotify, YouTube, Instagram, and Threads, prompting Swifties to search for Easter eggs. It included five Swift-curated Apple Music playlists containing her old songs inspired by the five stages of grief; a pop-up library of curated articles at The Grove, Los Angeles, hosted by Spotify; QR code murals in various cities worldwide that led to unlisted YouTube shorts on Swift's channel; a countdown to the album's release revealed upon refreshing Swift's Instagram profile; and special shimmer effects on Threads posts tagged with hashtags related to Swift and the album. iHeartRadio and Sirius XM announced special programs with exclusive content from Swift to celebrate the album's release; the former temporarily rebranded as "iHeartTaylor".

''The Tortured Poets Department'' was released on April 19, 2024. A double album edition, subtitled ''The Anthology'' and containing 15 bonus tracks, was surprise-released digitally two hours later. Two days earlier, the standard edition of the album was leaked, which resulted in the phrase "Taylor Swift leak" being temporarily banned from searches on the social media platform X (formerly Twitter). ''The Tortured Poets Department'' was available in 19 physical variants—nine CD, six vinyl, and four cassette variants, with deluxe CDs and cassettes being exclusive to Swift's official website. Physical copies of the album included an original poem by the American singer-songwriter Stevie Nicks. "Fortnight" was released as the lead single in conjunction with the album, accompanied by a music video. Universal Music released "I Can Do It with a Broken Heart" to Italian radio on July 2.

From May 2024, starting with the Paris shows, Swift revamped the set list of the Eras Tour to include songs from ''The Tortured Poets Department'' in a new act, which she informally described as "Female Rage the Musical". Swift subsequently released the live versions as bonus tracks on the physical album via her website exclusively to US customers. Other limited editions of the physical album included acoustic versions of five different tracks. Limited digital variants contained first draft phone demo recordings of four different tracks, and the Eras Tour live recordings of different tracks from the Paris shows, the Stockholm shows, the Lyon shows, and the London shows. The release of limited-edition bonus-track versions was accused by some social media users of being a way for Swift and her fans to maintain the album's number-one position on the charts.

Critical reception

Reviews

Publications described the critical consensus upon release as positive or mixed. Its second part, ''The Anthology,'' scored 69 from six critic scores.

A number of critics regarded the album a landmark in Swift's discography. Reviews from '' The Independent'' Helen Brown, ''The Arts Desk'' Ellie Roberts, ''The Times'' Dan Cairns, '' PopMatters'' Jeffrey Davies, and Will Harris of '' Q'' praised the album as one of Swift's most solid outputs, considering the musical composition, vocal stylings and lyrical tonality as ambitious and tastefully experimental. Others, including ''Variety'' Chris Willman, the '' i'' Ed Power, and '' The Observer'' Kitty Empire, called it a quintessential Swift album.

Swift's songwriting was a source of compliment. '' The Line of Best Fit'' Paul Bridgewater dubbed it her most cohesive body of work to-date, finding the music sophisticated and the lyricism symbolic. To Ludovic Hunter-Tilney of the '' Financial Times,'' the album is a stylistic evolution for Swift, with writing that marks a "characteristically appealing turn" into moody melodrama. Alexis Petridis of ''The Guardian'' and Alex Hopper of '' American Songwriter'' thought that the album has Swift's wittiest lyrics, featuring nuanced musical choices that show Swift is "willing to take risks in a risk-averse era for pop" and "constantly evolving and pushing her limits", respectively. In a more measured review, Olivia Horn of '' Pitchfork'' felt the lyrics did not "distill an overarching emotional truth, tending to smother rather than sting." Others, such as '' The New York Times'' Lindsay Zoladz, ''Slant Magazine''s Jonathan Keefe, and ''Exclaim!''s Alex Hudson, described some lyrics as weak and overwritten; Hudson claimed that many of its tracks "mistake verbosity for poetry".

The tumultuous mood and unconstrained emotion of the lyrics were also highlighted. Multiple reviews complimented the album's heavy, unfiltered emotion; '' Clash'' Lauren Webb described it as "a spell-binding, toxic, chaotic illustration" of deteriorating mental sanity. Powers opined that ''The Tortured Poets Department'' shows Swift's newfound freedom, with a "lack of concern about whether these songs speak to and for anyone but herself". In a similar perspective, rave reviews from '' Rolling Stone''s Rob Sheffield and '' Variety'' Chris Willman described the album as Swift's "gloriously chaotic" and "audacious, transfixing" project, respectively. To Willman, the album combines "cleverness with catharsis". '' Consequence''s Mary Siroky, on the other hand, found this style of lyricism jarring and "outright bizarre" at times, and felt the album was an attempt at self-parody rather than a showcase of Swift's songwriting acumen.

Many critics, including Zoladz, '' NME''s Laura Molloy, and ''Stereogum''s Tom Breihan, argued that Swift and Antonoff's collaboration on ''The Tortured Poets Department'' was uninventive due to a sonic similarity to their past collaborations. ''The New Yorker''s Amanda Petrusich rather favored Dessner's input to the album as "gentler, more tender, and more surprising". Horn and the BBC's Mark Savage felt the melodies were sonically monotonous and "staid", but others argued that the minimalistic approach complemented Swift's hyper-personal lyrics; Hopper opined that "Swift's confidence as an artist is at a peak" with ''The Tortured Poets Department''. According to Mary Kate Carr of '' The A.V. Club'', the album is "perfectly good" but arrived at a time when Swift has "nothing to prove" anymore, resulting in a stagnant point in her artistry; this idea was shared by an anonymous, negative '' Paste'' review that criticized the album as rushed, hollow, and unrelatable.

Post-review commentary

Various peer journalists and columnists cross-examined the album's critical reception. Publications considered ''The Tortured Poets Department'' a polarizing album; ''The Ringer'''s Nathan Hubbard deemed it Swift's most controversial release since ''Reputation'' (2017). Journalists from ''The New York Times'' and '' Vox'' attributed this phenomenon to Swift's heightened fame and associated media "overexposure" between 2020 and 2024, including eight album releases, the influential Eras Tour, and her relationship with Travis Kelce. ''Paste'' anonymous review was singled out by other publications as "scathing"; Sumnima Kandangwa of the ''South China Morning Post'' opined that they hid their reviewer's identity because Swifties "can become quite spirited when it comes to protecting their favourite singer". The album's ''Pitchfork'' score is Swift's lowest from the website. ''Sputnikmusic'' published reviews with three different ratings in a short period of time, each lower than the one before; Minh Anh of ''L'Officiel'' found this to be a confusing way to rate music. Swift shared the album's positive reviews on her social media, tagging the respective authors, which some considered as a response to ''Paste'' and other unfavorable reviews.

A number of commentators opined that the initial reviews demonstrated a flawed approach of mainstream music criticism. Bloomberg News' Jessica Karl wrote that the "lengthy" duration of the album made the reviewers "tayup until dawn to finish listening to an album" to publish, contributing to some reviews that were hasty, criticizing both the "exclamation-pointed digs" at Swift in ''Paste'' and the "instant classic" review by ''Rolling Stone''. In ''The Ringer'', Nora Princiotti attributed the polarizing reviews to the unexpected double album release, and Nathan Hubbard argued that some "cooler-than-thou" critics from sites like ''The New Yorker'', ''The New York Times'', and ''Paste'' used Swift's billionaire status to downplay the personal issues she detailed in the album. Karl opined that some "reputable publications" catered gossip instead of a serious artistic analysis, while Anh highlighted that reviews mentioned aspects of Swift's public image instead of focusing on the music. ''The New Yorker'' Sinéad O'Sullivan asserted that Swift's albums contain multiple layers of self-referential "lore", writing that the unfavorable reviews were due to critics not taking that into account or not allotting enough listening time.

Some early critics of the album recanted and declared they were "hasty" in reviewing it, as per ''Slate'' Chris Molanphy, who opined it has become a "widely agreed point" in later critical commentary that ''The Tortured Poets Department'' "grows on you" after more listens; Molanphy stated he liked the album better than he did a week before. CNN's Oliver Darcy said he had judged ''The Tortured Poets Department'' quickly, stating that he reviewed it keeping in the mind its mixed critical reception, and found the album overlong and unimpressive in agreement with other critics, but a week later, "after spending more time with the two-hour sonic feast, more methodically touring through its subtleties and nuances, I am ready to declare that it is one of Swift's best works yet." Darcy opined that the album cannot be fully digested at "the speed of TikTok", and criticized reviewers who do not let music albums "marinate" and instead expect "instant satisfaction".

Commercial performance

''The Tortured Poets Department'' broke numerous consumption records, leading ''The Guardian'' to comment that it "cemented Swift as the biggest pop star this century by many metrics". On Spotify, it became the most pre-saved album of all time; the most streamed album in a single day, surpassing 200 million and then 300 million streams and breaking the all-time record previously held by Swift's ''Midnights''; and the first album to accumulate one billion streams in a single week, doing so in five days. The album also became the most streamed album in a single day on Amazon Music and the most streamed pop album in a single day on Apple Music. It amassed 1.76 billion streams globally within its first week of availability, an all-time record. Republic Records reported global first-week consumption of four million units.

In the United States, the album accumulated 1.6 million album-equivalent units in four days, selling 700,000 vinyl LPs to break the record for the highest single-week vinyl sales previously held by Swift's ''1989 (Taylor's Version)'' (2023). It broke the single-week streaming record previously held by Drake's '' Scorpion'' (2018), amassing 799 million on-demand streams in six days. After a full week of availability, ''The Tortured Poets Department'' debuted atop the ''Billboard'' 200 with 2.61 million units, including 1.914 million pure copies and 891.34 million on-demand streams. It became Swift's 14th number-one album, tying her with Jay-Z for the most chart toppers among soloists. The album also registered the second-largest week by overall units and the third-largest week by pure sales in ''Billboard'' history. The album continued to chart at number one on the ''Billboard'' 200 for 15 more non-consecutive weeks, becoming the longest-leading chart topper in Swift's career, and resulting in high-profile releases by other artists debuting at number two, such as Dua Lipa's ''Radical Optimism'', Billie Eilish's ''Hit Me Hard and Soft'', and ¥$'s ''Vultures 2''. It is also the third album in history and first by a female artist to spend its first 12 weeks atop the chart.

All 31 songs from ''The Anthology'' debuted on the ''Billboard'' Hot 100, occupying the entire top 14 simultaneously for the first time in chart history. Swift set the record for most simultaneous entries by a female artist (32) and became the first woman to surpass 50 career top-10 songs. By July 2024, ''The Tortured Poets Department'' has sold 2.47 million pure sales and accumulated 5.30 million units in the United States. Sales were boosted by multiple variants of the album, with double-digit variants in digital and CD mediums.

''The Tortured Poets Department'' broke chart records in other countries. In Germany, it recorded the largest streaming day for an album and debuted atop the chart with the highest sales week for an international solo artist in seven years. In the United Kingdom, it became the fastest-selling album by any artist in seven years and by a non-British artist in 18 years, and it tied Swift with Madonna for the most female number-one albums on the UK Albums Chart (12). It became the fastest-selling vinyl album since 1994 and Swift's album with the most weeks at number one (8). On the Australian ARIA Charts, ''The Tortured Poets Department'' became Swift's 13th number-one album, a record among female artists; its songs set records for the most simultaneous entries by a single artist in the top 10 (10), top 50 (29), and top 100 (31) of the singles chart. Debuting atop the Canadian Albums Chart as Swift's 14th consecutive chart topper, the album registered the highest single-week vinyl sales and streaming figures in chart history. Ten tracks from the album debuted on the ''Billboard'' Brasil Hot 100.

Track listing

Notes
* signifies a vocal producer
* "Loml" and "Imgonnagetyouback" are stylized in all lowercase.
* "Thank You Aimee" is stylized as "thanK you aIMee".
* Physical editions of the standard album include either "The Black Dog", "The Albatross", "The Bolter" or "The Manuscript" as a bonus track.

Personnel

Musicians

* Taylor Swift – vocals (all tracks), piano (tracks 3, 17), background vocals (17)
* Jack Antonoff – synthesizer (tracks 1–4, 6–11, 13, 15, 17, 18, 25), programming (1–4, 6–11, 13, 15, 17, 18, 24, 25), drums (1, 3, 4, 7–10, 13, 15, 17, 18, 24), electric guitar (1, 3, 6–11, 15, 17, 24), acoustic guitar (1, 6–9, 11, 17, 18, 25), piano (2, 4, 8, 10, 13, 17, 18), cello (2, 6, 8, 10, 15, 17, 24, 25), background vocals (2, 6, 15, 24), bass (3, 6, 8–11, 17), percussion (4, 7, 9, 11, 13, 15, 18, 24), Mellotron (6, 8, 10, 11, 17), organ (7), Rhodes (17), keyboards (18)
* Sean Hutchinson – drums (1, 6, 10, 15, 17), percussion (4)
* Post Malone – vocals (track 1)
* Mikey Freedom Hart – acoustic guitar, bass, electric guitar, Hammond B3 (track 2); Mellotron (3), synthesizer (4, 6, 10), percussion (10)
* Evan Smith – synthesizer (tracks 2, 6, 10), saxophone (4)
* Zem Audu – synthesizer (tracks 2, 6, 10), saxophone (4)
* Michael Riddleberger – drums (track 2), percussion (10)
* Aaron Dessner – piano (tracks 5, 10, 12, 16, 19–23, 26–31), synthesizer (5, 12, 14, 16, 19–24, 26–28, 30, 31), drum programming (5, 14, 16, 19–24, 26, 28–30), electric guitar (5, 14, 19–23, 26, 27, 29, 30), acoustic guitar (6, 19, 20, 23, 24, 26, 29), keyboards (12, 19–22, 24, 26–28, 30), bass (14, 16, 20, 22, 28–30), percussion (16, 19, 20, 22–24, 26, 27, 29, 30), mandolin (20, 23, 24), synth bass (21, 22, 24, 27, 31), banjo (23, 24), drums (30)
* Benjamin Lanz – synthesizer (tracks 5, 19–23, 27, 30), trombone (20, 22, 27), sequencer (22)
* Bobby Hawk – strings (tracks 6, 9, 17)
* Emily Jean Stone – oddities (track 8)
* Florence Welch – vocals, drums, percussion, piano (track 8)
* Glenn Kotche – drums, percussion (tracks 12, 16, 19–21, 23, 24, 26, 29, 30); snare drum, vibraphone (27)
* Oli Jacobs – background vocals, percussion, spoken word (track 13)
* James McAlister – synthesizer (tracks 14, 16, 21–23, 26, 27, 30), percussion (14, 16, 23, 26, 27, 29, 30), drums (14, 21, 22), electric guitar (14, 22), keyboards (16, 21, 26, 27), drum programming (19, 22, 26, 27, 31); acoustic guitar, synth bass (23); zither (26)
* Rob Moose – viola, violin (tracks 14, 20)
* Jason Slota – percussion (track 14)
* Abi Hyde-Smith – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Brian O'Kane – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Max Ruisi – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Reinoud Ford – cello (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Robert Ames – conductor (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Chris Kelly – double bass (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Dave Brown – double bass (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Sophie Roper – double bass (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Elisa Bergersen – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Matthew Kettle – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Morgan Goff – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Nicholas Bootiman – viola (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Akiko Ishikawa – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Cara Laskaris – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Iona Allan – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Kirsty Mangan – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Nicole Crespo O'Donoghue – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Ronald Long – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Sophie Mather – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Dan Oates – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
* Eloisa-Fleur Thorn – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
* Emily Holland – violin (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
* Anna de Bruin – violin (tracks 16, 19, 23, 24, 26, 27, 29–31)
* Galya Bisengalieva – violin (tracks 16, 19, 21, 24, 26, 30)
* Agata Daraskaite – violin (tracks 16, 19, 26, 27, 30)
* Julian Azkoul – violin (tracks 16, 19, 26, 27, 30)
* Amy Swain – viola (tracks 16, 19, 26, 27, 30)
* J.T. Bates – drums (tracks 16, 20, 21, 26)
* Thomas Barlett – synthesizer (tracks 16, 21, 23, 24, 26, 29–31); keyboards, piano (16, 21, 23, 24, 26, 29, 30)
* Marianne Haynes – violin (tracks 16, 21, 23, 24, 29–31)
* Jack Manning – piano (track 18)
* George Barton – percussion (tracks 19, 23, 24, 26, 27, 31), timpani (30)
* David McQueen – French horn (tracks 21, 23, 24, 26, 27, 29–31)
* Alicia Berendse – violin (tracks 21, 24, 29–31)
* Meghan Cassidy – viola (tracks 23, 29, 31)
* Natasha Humphries – violin (tracks 23, 29, 31)
* Jonathan Farey – French horn (tracks 24, 26, 27, 29–31)
* Paul Cott – French horn (tracks 24, 26, 27, 29–31)
* Patrik Berger – acoustic guitar (track 25)
* Max Welford – bass clarinet (tracks 26, 29)
* Vicky Lester – harp (track 30)
* Bryce Dessner – drum programming, piano, synthesizer (track 31)

Technical

* Randy Merrill – mastering
* Ryan Smith – mastering
* Serban Ghenea – mixing
* Bryce Bordone – mix engineering
* Laura Sisk – engineering (tracks 1–4, 6–11, 13, 15, 17, 18, 24, 25), vocal engineering (7, 9, 11, 12, 14, 15)
* Oli Jacobs – engineering (tracks 1–4, 6–11, 13, 15, 17, 18, 24, 25)
* Sean Hutchinson – engineering (tracks 1, 2, 4, 6, 10, 15, 17)
* Michael Riddleberger – engineering (tracks 1, 2, 4, 6, 10, 17)
* David Hart – engineering (tracks 2, 6, 10)
* Evan Smith – engineering (tracks 2, 6, 10)
* Mikey Freedom Hart – engineering (tracks 2, 6, 10)
* Zem Audu – engineering (tracks 2, 6, 10)
* Bella Blasko – engineering (tracks 5, 6, 10, 11, 14, 27, 28, 31), additional engineering (16, 19–24, 26, 29, 30)
* Jonathan Low – engineering (tracks 5, 6, 10, 11, 16, 19–24, 26–30)
* Aaron Dessner – engineering (tracks 5, 14)
* Benjamin Lanz – engineering (tracks 5, 19, 20, 22, 23, 26, 27, 30)
* Ben Loveland – engineering (track 8)
* Joey Miller – engineering (track 10), engineering assistance (13)
* James McAlister – engineering (tracks 14, 16, 19, 21–23, 26, 27, 29, 30)
* Rob Moose – engineering, recording arrangement (track 14)
* Jeremy Murphy – engineering (tracks 16, 19, 21, 23, 24, 26, 27, 29, 30)
* Thomas Bartlett – engineering (tracks 16, 21, 23, 24, 26, 29, 30)
* Maryam Qudus – engineering (tracks 20, 23, 24, 30)
* Jack Antonoff – engineering (track 24)
* Pat Burns – engineering (track 27)
* Louis Bell – vocal engineering (track 1)
* Christopher Rowe – vocal engineering (tracks 7, 9, 11, 12, 15, 20)
* Beau Sorenson – additional engineering (track 14)
* Bryce Dessner – recording arrangement (tracks 16, 19, 21, 23, 24, 26, 27, 29–31)
* Jack Manning – engineering assistance (tracks 1–4, 6–11, 13, 15, 17, 18, 25)
* Jon Sher – engineering assistance (tracks 1–4, 6–11, 13, 15, 17, 18, 25)
* Lauren Marquez – engineering assistance (tracks 1, 13)
* Jesse Snider – engineering assistance (tracks 7, 8, 10)
* Joe Caldwell – engineering assistance (tracks 10, 13, 18, 24)
* Rḗmy Dumelz – engineering assistance (track 11)
* Laura Beck – engineering assistance (tracks 16, 19, 21, 23–27, 29–31)

Charts

Weekly charts

Monthly charts

Certifications

Release history

Notes

References

{{DEFAULTSORT:Tortured Poets Department, The
2024 albums
Albums produced by Aaron Dessner
Albums produced by Jack Antonoff
Albums produced by Taylor Swift
Chamber pop albums
Folk-pop albums
Republic Records albums
Synth-pop albums by American artists
Taylor Swift albums