In the newsroom Wednesday night, I spoke with Associate Managing Editor Anna Jordan about Taylor Swift’s “The Life of a Showgirl: The Encore,” which dropped last week. And after discussing the horrendous new development that was the song “Cleveland!”, I told her something that had practically become my personal mantra: “I cannot believe the woman that wrote ‘folklore’ is writing this.”

Before I become the subject of a witch hunt, I need to clarify that I’m a longtime Swiftie. After growing up listening to her hits on the radio, I rediscovered Swift in high school when my best friend urged me to listen to her then-new 2020 album, “folklore.” The piece was an unfamiliar indie diversion from her standard pop tracks, with wistful storytelling and gorgeous piano melodies that deeply resonated with the overdramatic 15-year-old that I was.

Then, in December 2020 came “evermore,” which followed in its predecessor’s indie footsteps and also had me in its wintry clutches. After I had practically worn both albums out from repeated listening, I turned to her past albums for more of her artistry. So, to quote the singer herself, “It was rare, I was there / I remember it all too well.”

With my bracelet collection from two nights of “The Eras Tour” and my ratty “Red” cardigan hanging in my closet at home, I say this with absolute certainty: Swift has lost the romantic spark her music used to flourish in.

I’m ashamed to say that since “The Tortured Poets Department” — sorry not sorry; it was bad — I’ve called my own judgment into question every time her music played and my overly niche KXSC Radio friends react in disgust. I felt like an annoying child in the front of the class, practically buzzing in my seat at the chance to play devil’s advocate and say, “She makes good music, I swear.” But I couldn’t even defend myself because I, too, was horrified. 

Part of Swift’s appeal to me has always been her ability to capture love, both romantic and platonic. Anna and I talked about getting “You Are In Love” from her 2014 album “1989” as one of our surprise songs at “The Eras Tour,” and how phenomenal it was to see live. It’s truly a testimony to the track’s strength that, despite being about Lena Dunham and Jack Antonoff, every time I listen to it, I’m overcome with giddiness.

In four minutes and 27 seconds, Swift manages to perfectly capture the beauty and intricacies of being in love better than any romantic comedy that’s been released in the past five years. She sings, “You can hear it in the silence / You can feel it on the way home / You can see it with the lights out / You are in love, true love.” 

Her 2017 album “reputation” includes another one of Swift’s best love songs, “Call It What You Want.” In terms of content, I confess that it’s slightly similar to “Cleveland!” In both songs, she shows off her new love and asserts her happiness, despite what outsiders may think. But despite these thematic similarities, “Cleveland!” completely lacks the lyrical authenticity and humility present in “Call It What You Want.” 

In the latter song, Swift confesses that, despite all of her past mistakes, this present love is all that matters: “I’m laughing with my lover, makin’ forts under covers / Trust him like a brother / Yeah, you know I did one thing right.” Not only does this track sound musically better than the new deluxe track, but the lyrics tell a sweeter, more nuanced story.

“Call It What You Want” is less focused on any outside hatred toward her relationship and illustrates an almost girlish and youthful captivation with her new lover. But “Cleveland!” barely pays any attention to the subject and, more so, to the supposed haters. 

The song begins by detailing what I’m assuming are criticisms Swift has repeatedly had lobbed against her. She then proceeds to brag about being taken to Cleveland, of all places, singing, “So hate all you like / This is the love of my life.” In the bridge, Swift also sing-speaks, “You only need to find one person in this entire world / Who doesn’t find you completely insufferable / And I have an important announcement to make / I found mine.” 

The line, which seemingly aims for an Audrey Hobert-esque self-deprecating humor, reads less funny and almost sad. Aside from “Wood,” which is undoubtedly the worst song she has ever created, “Cleveland!” seems almost like overcompensation, trying to convince listeners that she’s completely confident in her love instead of conveying it through little moments and details lyrically like she’s done in previous songs. 

How we went from, “I want to wear his initial on a chain ’round my neck / Chain ’round my neck / Not because he owns me / But ’cause he really knows me,” to, “Girls, I don’t need to catch the bouquet, mm / To know a hard rock is on the way,” I’ll never know. 

Swift has proven in the past that she can write about being happy, and she can do it extremely well. Her strength has always derived from her ability to capture the raw emotions — whether it be heartbreak or satisfaction — that come from being in love. I can only hope that she’s just hiding her musical vulnerability for a rainy day and will rereveal fairly soon. But until then, I’ll keep playing “You Are In Love.”

Sophia Kang is a junior writing about love in media in her column, “Love, Actually.” She is also an Arts and Entertainment editor at the Daily Trojan.