Red (Taylor Swift album): Difference between revisions

Red
Red
	Standard edition cover
Studio album by Taylor Swift
Released	October 22, 2012
Recorded	2011–2012
Studio	Blackbird (Nashville); Pain in the Art (Nashville); Ballroom West (New York); Instrument Landing (Minneapolis); MXM (Stockholm); Conway (Los Angeles); Village (Los Angeles); Garage (Topanga Canyon); Ruby Red (Atlanta);
Genre	Pop; country; rock; folk;
Length	65:09
Label	Big Machine;
Producer	Taylor Swift; Nathan Chapman; Jeff Bhasker; Dann Huff; Jacknife Lee; Max Martin; Shellback; Butch Walker; Dan Wilson;
Taylor Swift chronology
Singles from Red
	"We Are Never Ever Getting Back Together"; Released: August 13, 2012; "Begin Again"; Released: October 1, 2012; "I Knew You Were Trouble"; Released: November 27, 2012; "22"; Released: March 12, 2013; "Red"; Released: June 24, 2013; "Everything Has Changed"; Released: July 14, 2013; "The Last Time"; Released: November 4, 2013;

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Red is the fourth studio album by the American singer-songwriter Taylor Swift, released on October 22, 2012, by Big Machine Records. The title is the color to which Swift associated the tumultuous emotions she was experiencing from lost love while conceiving the album.

Swift designated Red as a breakup album, and its songs portray the complex and conflicting feelings that result from fading romance. Hoping to convey those sentiments sonically, she engaged new producers to experiment with sounds beyond the country pop style of her past albums. The ensemble included Dann Huff, Max Martin, Shellback, Jeff Bhasker, Dan Wilson, Jacknife Lee, Butch Walker, alongside her long-time collaborator Nathan Chapman. Red combines pop, country, and rock, using acoustic instruments alongside synths and drum machines. The tracks draw on styles such as electronic, arena rock, Britrock, dance-pop, and dubstep.

Red was supported by a world tour, the Red Tour (2013–2014), and seven singles; "We Are Never Ever Getting Back Together" peaked atop the US Billboard Hot 100, and "I Knew You Were Trouble" reached the top ten in Australasia and Europe. The album topped the charts and received multi-platinum certifications in Australia, Canada, New Zealand, and the United Kingdom. In the United States, it made Swift the first artist since the Beatles to have three albums each spend at least six weeks atop the Billboard 200. Initial reviews of Red mostly praised Swift's songwriting for its emotional exploration and engagement but were divided on the musical styles, with critics deeming them inconsistent and questioning Swift's identity as a country artist.

Red was nominated for Album of the Year at the 2013 Country Music Association Awards, and Album of the Year and Best Country Album at the 2014 Grammy Awards. The critical debate influenced Swift to relinquish her country identity on subsequent releases. Retrospectively, critics regard Red as a career-defining work showcasing Swift's evolved songcraft and a transitional album bridging her country roots to mainstream pop. Many publications ranked it among the best albums of the 2010s decade, and Rolling Stone placed it at number 99 on their 2023 revision of the 500 Greatest Albums of All Time. Following a 2019 dispute regarding the ownership of Swift's back catalog, she re-recorded the album and released it as Red (Taylor's Version) in 2021.

Background

Taylor Swift's third studio album, Speak Now, was released by Big Machine Records on October 25, 2010. She wrote the album entirely herself^[2] and produced it with Nathan Chapman, who had produced both of her previous albums.^[3] Speak Now expands on those albums' country pop sound with a more aggressive influence of crossover pop that was also characteristic of Fearless (2008)^[4] and incorporates rock styles including pop rock, arena rock, and new wave rock.^[5] Speak Now registered in the 2010 Guinness World Records as the fastest-selling digital album by a female artist^[6] and was nominated for Best Country Album at the 54th Grammy Awards in 2012.^[7]

After Speak Now, Swift continued working with Chapman on her next album.^[8] By October 2011, she had written around 25 songs.^[9] Although executives at Big Machine felt that the materials were sufficient and congratulated her for finishing work within one year, Swift felt that her creativity diminished because she had been repeating the same songwriting process.^[10] She sought to collaborate other producers to venture outside of her "comfort zone" of writing songs alone.^[10] While Swift viewed the solo-written Speak Now was her statement as a songwriter, she envisioned her fourth studio album as a statement of her "thirst for learning".^[11] She reworked the new album while touring on the Speak Now World Tour from 2011 to 2012.^[12]

Writing and production

Swift recalled working on her fourth studio album within two years—she wrote songs by herself and produced them with Chapman within the first year, and engaged other producers within the second year. She explained that she recruited producers whose works had instilled curiosities in her.^[10]^[12] While experimenting sonically, she prioritized conveying emotional sentiments through her lyrics over what particular sounds she should pursue, as with her typical approach.^[13] On songs that Swift co-wrote, she first presented her co-writers with the feelings she had been going through, played a rough version of her song on guitar, and asked for their ideas on ways to better convey the story.^[8] Each track's production corresponded to the emotion it portrayed, to which Swift attributed the album's "eclectic blend of music".^[10]

Production sessions took place in between stops of the Speak Now World Tour.^[14] The first song that Swift wrote was "All Too Well"; during a February 2011 rehearsal of the tour, she ad-libbed lyrics written after a broken relationship while playing a four-chord guitar riff as her touring band spontaneously played backing instruments.^[11] Swift told Rolling Stone that this relationship caused "a few roller coasters", and she channeled the tumult into the songs.^[14] She continued writing tracks like "Red" and "State of Grace" and produced them with Chapman in her creative base of Nashville.^[11] "Red" was a critical point during the album's formation;^[8] Big Machine's president Scott Borchetta overheard the production and suggested a more pop-oriented sound.^[15] After several failed attempts at the desired outcome, Swift asked Borchetta to recruit Max Martin, a Swedish producer known for his chart-topping pop songs.^[8]^[15] Swift travelled to Los Angeles to work with Martin and his frequent collaborator Shellback, who produced the songs "22", "I Knew You Were Trouble", and "We Are Never Ever Getting Back Together".^[15]

The final version of "Red" was produced by Swift, Chapman, and Dann Huff, and the three produced two more tracks: "Starlight" and "Begin Again".^[12] Swift engaged Jeff Bhasker because she was intrigued by his drum production, citing "We Are Young" (2011) by the indie band Fun as an example.^[10]^[16] Bhasker produced two songs: "Holy Ground" and "The Lucky One".^[17] She worked with Butch Walker on "Everything Has Changed"—a duet with the English singer-songwriter Ed Sheeran, and Dan Wilson on "Treacherous".^[12] She wrote "The Last Time" with Gary Lightbody and Jacknife Lee of the Irish-Scottish band Snow Patrol; Lightbody featured as a guest vocalist, and Lee produced the track.^[8]^[12] Swift named the album Red, denoting the color to which she associated the tumultuous and extreme emotions that she was experiencing—"intense love, intense frustration, jealousy, confusion".^[18]^[19] By the time recording began, Swift had written more than 30 songs, and 16 of which made the final cut of the standard edition; Swift was the sole writer of nine tracks.^[11]^[16]

Composition

Music and lyrics

Red incorporates various musical styles across pop, rock, and folk, in addition to the country-pop sound of Swift's past albums,^[20]^[21] namely dance-pop, indie pop, dubstep, Britrock, and arena rock.^{[note 1]} The arrangements of its songs include acoustic instruments, electronic synths, and drum machines.^[20] Calling Red her "only true breakup album", Swift said that the diverse musical styles were a "metaphor for how messy a real breakup is".^[11] Its first half consists of country and pop songs intertwined with each other;^[25] "22", "I Knew You Were Trouble", and "We Are Never Ever Getting Back Together" have a pop production that incorporates electronic vocal processing and hip-hop-influenced bass drums.^[26]^[27] The rock stylings of Speak Now^[28] expand on "State of Grace", "Red", and "Holy Ground", which the musicologist James E. Perone found reminiscent of 1980s arena rock.^[29] Other songs, such as "I Almost Do", "Stay Stay Stay", "Sad Beautiful Tragic", and "Begin Again", continue the country sound of Swift's earlier music.^[30]^[31]

Critics were divided on the album's genre classification. Jon Dolan's review for Rolling Stone appeared in the magazine's column for country music, but he described its musical foundation as "post-country rock".^[32] Some reviewers commented that Red blurred the divide between country and pop,^[25]^[33] but others called it a straightforward pop album with little trace of country.^[34]^[35] According to Randall Roberts of the Los Angeles Times and Jon Caramanica of The New York Times, Red was Swift's inevitable move from country into mainstream pop to broaden her audience. The former said much of the album could perform well on commercial country radio but at its core, it is "perfectly rendered American popular music" with contemporary influences;^[36] the latter described Swift as "a pop star in a country context".^[26] For American Songwriter's Jewly Hight, debating Swift's genre was pointless because her music was meant for a young audience open to diverse styles for their digital playlists.^[37]

The songs on Red are autobiographical,^[38] forming a loose concept about the aftermath of an intense breakup, detailing loss, pain, abandonment, and regrets.^[39] According to Swift, most of the album was inspired by an ex-boyfriend who contacted her after listening to it and described the experience to her as "bittersweet".^[40] Whereas her previous songs contain fantasy-driven narratives and happy endings, Red realizes the uneasy reality of how a seemingly enduring relationship can painfully end.^[41] In the album's physical booklet, Swift quotes a line from Pablo Neruda's poem Tonight I Can Write The Saddest Lines,^[42] "Love is so short, forgetting is so long", which she found suitable for the album's overarching theme.^[43] Expanding on her country-music beginnings,^[44] Swift's songwriting retains the storytelling aspect by setting up scenes and characters for each track's narrative.^[38]^[22] She was additionally inspired by Joni Mitchell's songcraft on Blue (1971) for how it "explores somebody's soul so deeply".^[45] Some journalists also found Blue's influence on the cover artwork of Red, which shows Swift looking downward with her face partially shadowed from her brimmed hat.^[41]^[24]^[46]

Red expands on Swift's common themes of love and heartbreak but explores them from a more complex perspective.^[40]^[47]^[48] Sam Lansky in Billboard wrote that the album depicts her negative emotions in extremes and how frustrating it can be to experience them,^[19] while Emily Yoshida in Vulture thought that there are moments of vulnerability that "feel wise beyond the 22 years Swift was";^[38] in the words of Caramanica, "Almost everything here is corroded in some way."^[26] Writing for NPR, J. English described the album as Swift's coming of age and her early-20s exploration of womanhood and adulthood: the characters in the Red songs detail their first-hand experiences with sexuality and loss of innocence—topics that Swift had explored on her past albums from an outsider perspective;^[22] Caramanica found allusions to how "[Swift's] body is as alive as her mind" on songs like "State of Grace", "Treacherous", and "Stay Stay Stay".^[26] In The Atlantic, Brad Nelson wrote that Red sees Swift no longer putting the blame solely on ex-lovers and instead viewing heartbreak with "ambiguity", and that her songcraft uses intricate details and narrative devices that evoke the styles of rock and roll musicians such as Steely Dan, Bruce Springsteen, and Leonard Cohen.^[47]

Songs

"State of Grace" is an arena-rock song that features chiming guitars and dynamic drums, and its lyrics are about the tumultuous feelings stemming from romantic beginnings.^[41]^[49] According to Perone, the lyric, "Love is a ruthless game, unless you play it good and right", sets the overall theme of an album about passionate romance gone wrong.^[50] The title track explores an intense relationship that has failed,^[50] relating the stages of love to colors: "losing him" is blue, "missing him" is a dark gray, and "loving him" is red.^[51] It is built on an acoustic arrangement consisting of string instruments of acoustic guitar, banjitar, cello, fiddle, and bouzouki, which display a country sound,^[50] while also featuring electronic vocal manipulation and and elements of mainstream pop, soft rock, and adult contemporary.^[52] "Treacherous", which begins with slow guitar strumming and percussion and gradually builds up,^[25]^[41] is about attempting to protect a fragile relationship.^[30]

"I Knew You Were Trouble"

"I Knew You Were Trouble" incorporates dubstep and pulsing synthesizers in its chorus, a style that critics deemed widely different from the music in Swift's previous songs.

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"I Knew You Were Trouble" has a pop-rock production in its verses, and its refrain begins with a dubstep drop and continues with aggressive synth backing and hip hop-influenced syncopated percussion.^[41]^[50] In the lyrics of "I Knew You Were Trouble", Swift's character blames herself for a toxic relationship that has ended.^[26] Critics considered the song widely different from the music that Swift had explored on her past albums: Perone said that the track's dynamic shifts between the verses were "sudden and unexpected",^[21] and Caramanica wrote that the dubstep drop was "a wrecking ball, changing the course not just of the song but also of Ms. Swift's career".^[26] "All Too Well", considered by critics the emotional centerpiece of the album's narrative,^[11] has a slow-building production containing of overdubs of acoustic guitar, electric guitar, bass, drums, and harmony vocals.^[53] It chronicles a lost relationship from the peak of romance to the lingering memories after it has ended.^[25]^[35]

"22" is about celebrating the joys of being youthful by going out and meeting new people to move on from heartbreak.^[22]^[44] Its verses are driven by acoustic guitar, and its refrain incorporates a dance-influenced arrangement consisting of electronic synths and hip hop-influenced bass drums.^[26]^[54] According to Perone, the arrangement of "I Almost Do" is derived from Swift's early country songs: its verses are formed on short melodic motives and Swift's lower register vocals, while its refrain has a longer range in Swift's vocals. The song displays elements of country and folk via acoustic guitars and open string notes in the texture.^[55] In "I Almost Do", Swift's character wonders what she would do if an ex-lover asked her to come back to him, and she admits she would likely agree to do so.^[55] Her character in "We Are Never Ever Getting Back Together", meanwhile, promises an ex-lover that they will never rekindle their relationship.^[25] Swift's vocals in the song are electronically processed,^[56] and its production features an acoustic guitar arrangement alongside other stylistic embellishments including filtered guitar tones, synths, and hip hop-influenced bass drums.^[34]^[56] "Stay Stay Stay", a fast-tempo song combining styles of country and 1980s pop,^[56] features toy piano, ukulele, mandolin, and hand claps, and its lyrics are about two lovers trying to reconcile after a fight.^[26]^[35]

"The Last Time", a duet with Lightbody, has a melancholic, balladic production consisting of strings.^[56] Perone compared its production with the music of late-1970s and early-1980s rock bands but with a muted texture.^[57] Lightbody's and Swift's characters detail their perspectives on a failing long-term relationship in the first and second verses,^[57] and the refrain is backed by an orchestra playing intense strings and brass.^[56]^[58] In "Holy Ground", Swift's character reminisces about an absent lover and the specific memories of their past.^[57] It is a country rock and heartland rock track with persistent drums and a recurring guitar riff.^[35]^[47] Perone found the lyrical imagery of "Sad Beautiful Tragic" to extend the "lyrical impressionism" of Swift's songwriting by using various images without drawing a straightforward connection between them.^[59] It has an intimate and melancholic sound^[25]^[30] consisting of overdubs of acoustic instruments that evoke folk music.^[59] "The Lucky One" incorporates a driving drum machine and has a soft-rock^[22] and 1960s pop-rock sound.^[59] Written in third-person perspective, the lyrics tell the story of a successful singer who looked "like a '60s queen" in her high-school days, was envied by her friends after achieving fame in "the angels' city",^[59] and ultimately "chose the rose garden over Madison Square".^[25]^[35]

"Begin Again"

Red's closing track, "Begin Again", is a country ballad. The musicologist James E. Perone commented that this solidified country as an important aspect of Swift's artistry.

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"Everything Has Changed", a duet with Sheeran, is a mid-tempo acoustic guitar-led ballad^[25] that incorporates deep bass drums.^[60] Perone commented that the song's arrangement is similar to the music from Swift's debut album, using "a high degree of syncopation" at the sixteenth note level. In the song, Swift and Sheeran sing about the beginnings of a new romance, alternating their lead vocals in the verses.^[60] Swift was inspired to write "Starlight" by the romance between Ethel and Robert F. Kennedy.^[61] In the lyrics, Swift's character reminisces about meeting her lover one evening in the "summer of '45" and how they intruded a "yacht club party" and danced "like [they] were made of starlight".^[32]^[60] Containing an electric guitar solo,^[60] "Starlight" is a dance-pop song^[35] that Perone deemed "vaguely contemporary country pop in nature".^[60] In the closing track of the standard edition, "Begin Again", Swift's character explores how a newfound love interest differs from her ex-lovers, giving her hopes of a new romance.^[31] According to Perone, that the genre-spanning Red concludes with a country ballad confirms country music as an integral part of Swift's musical identity.^[31]

The deluxe edition of Red includes the extra original songs "The Moment I Knew", "Come Back ... Be Here", and "Girl at Home"; original demo recordings of "Treacherous" and "Red"; and an acoustic version of "State of Grace".^[62] "The Moment I Knew" is a somber piano ballad, and its lyrics are about a woman celebrating her birthday party without her boyfriend, signaling a failing relationship.^[63] The 2000s-adult-contemporary-oriented "Come Back... Be Here" has lyrics about a long-distance relationship with few chances to endure.^[64] "Girl at Home", a song combining country with 1980s music elements,^[65]^[66] details a woman's contempt for a flirtatious man who is in a relationship with another woman.^[62]

Release and promotion

Marketing

On August 13, 2012, via a live webchat held on Google Hangouts,^[67] Swift announced the album's details and released the lead single, "We Are Never Ever Getting Back Together",^[68] which was her first number-one song on the US Billboard Hot 100.^[69] An alternative version of "We Are Never Ever Getting Back Together" was released to US country radio;^[70] it spent 10 weeks atop Hot Country Songs.^[71] Both the standard and deluxe versions of Red were released on October 22, 2012.^[72] In the United States, the standard edition was available in digital and physical formats, and the deluxe edition containing six extra tracks was available exclusively for physical purchase at Target.^[72]

Swift and Big Machine implemented an extensive marketing plan for Red.^[72] To increase sales, Swift had tie-ins with corporations including Starbucks, Keds, Walmart, Walgreens, and Papa John's.^[72]^[73] A day after the release, she began a cycle of television appearances, which included Good Morning America (October 23), Late Show with David Letterman (October 23), The View (October 24), The Ellen DeGeneres Show (October 25), Katie (October 26), and 20/20 (October 26).^[73] She gave interviews to as many as 72 radio stations, mostly in the United States and some from South Africa, New Zealand, Spain, Germany, and Mexico.^[72] Her live performances at awards shows included the MTV Video Music Awards,^[74] the Country Music Association Awards,^[75] and the American Music Awards.^[76]

Red was promoted with further singles. From September 24 until the album's release date, Swift previewed one album track each week via Good Morning America as part of a four-week countdown^[77]—"Begin Again", "Red", "I Knew You Were Trouble", and "State of Grace";^[78] the first three songs were later released as singles. "Begin Again", released to US country radio on October 1, 2012,^[79] peaked at number seven on the Billboard Hot 100 and number three on Country Airplay.^[80] Released to US pop radio on November 27, 2012,^[81] "I Knew You Were Trouble" spent seven weeks at number one on Pop Songs^[82] and peaked at number two on the Billboard Hot 100^[83] and in the top 10 on charts of Australasian and European countries.^[84] "Red" was released to US country radio on June 24, 2013.^[85] Other singles were "22",^[86] "Everything Has Changed",^[87] and "The Last Time".^[88]

Despite Red's promotion as a country album, its diverse musical styles sparked a media debate over Swift's status as a country artist.^[70]^[89] Spin argued Red was difficult to categorize because country music was "the most dynamically vibrant pop genre of the last decade or so".^[90] Other critics commented Swift had always been more pop-oriented than country and described Red as her inevitable move to mainstream pop.^[91] In an interview with The Wall Street Journal, Swift responded that country music "feels like home" and dismissed the debate: "I leave the genre labeling to other people."^[91]

Touring

Swift announced the album's accompanying world tour, the Red Tour, shortly after the album's release.^[92] On October 26, 2012, she announced the first 58 dates for the North American leg, beginning in Omaha, Nebraska, visiting Canada and the United States throughout the spring and summer of 2013, and concluding in Nashville, Tennessee, in September.^[93] To support a high demand, Swift held the concerts mostly in sports arenas and stadiums.^[92] After the North American leg, the Red Tour visited Australasia,^[94] the United Kingdom,^[95] and Asia.^[96]

The Red Tour was a box office success. The four shows at Staples Center in Los Angeles extended Swift's total of sold-out shows to 11, making her the solo artist with the most sold-out shows at Staples Center.^[97] She was the first female artist to sell out the Sydney Football Stadium since its opening in 1988.^[98] Tickets for the Shanghai show sold out within 60 seconds, setting the Chinese record for the fastest sellout.^[96] When it ended in June 2014, the tour had grossed $150.2 million and became the highest-grossing tour by a country artist of all time.^[99]

Commercial performance

In the United States, Red debuted at number one on the Billboard 200 with first-week sales of 1.208 million copies, surpassing Garth Brooks's Double Live (1998) as the fastest-selling country album.^[73] With Speak Now and Red, Swift was recognized in the Guinness World Records as the "First Solo Female with Two Million-Selling Weeks on the U.S. Albums Chart".^[100] Red spent seven non-consecutive weeks at number one on the Billboard 200,^[101] and made Swift the first female artist, and the second after the Beatles, to have three consecutive studio albums each spend six or more weeks atop the chart.^{[note 2]} It was the third consecutive time—after Fearless (2008) and Speak Now (2010)—that Swift had a number-one album during the last week before Christmas, which is traditionally the most competitive week of the year.^[103] On Billboard's Top Country Albums chart, it was at number one for 16 weeks and was the year-end number-one album of both 2012 and 2013.^[104] Surpassing 3.11 million copies after two months of sales, Red was the second-highest-selling album of 2012.^[105] As of January 2024, its US sales stood at 4.582 million copies.^[106] The Recording Industry Association of America certified the album seven-times platinum for surpassing seven million album-equivalent units.^[107]

The album reached number one on the record charts of European and Oceanic countries, including Australia,^[108] Canada,^[109] New Zealand,^[110] Ireland,^[111] and Scotland.^[112] It received multi-platinum certifications in Australia (4× Platinum),^[113] Canada (4× Platinum),^[114] and New Zealand (2× Platinum).^[115] In the United Kingdom, Red was Swift's first number one on the Albums Chart and had four top-ten songs on the Singles Chart, the most of Swift's albums;^[116] it was certified 2× Platinum by the British Phonographic Industry (BPI) and sold 619,000 copies as of June 2021^[update].^[117]^[118] Less than a month after its release, Red sold 2.8 million copies worldwide.^[119] By the end of 2012, Red finished as the global second-best-selling album with 5.2 million copies.^[120] By August 2014, it had sold over eight million copies.^[121]

Critical reception

*Red* ratings
Aggregate scores
Source	Rating
AnyDecentMusic?	6.6/10^[122]
Metacritic	77/100^[123]
Review scores
Source	Rating
AllMusic	^[34]
The A.V. Club	B+^[48]
The Daily Telegraph	^[33]
Entertainment Weekly	B+^[124]
The Guardian	^[125]
Los Angeles Times	^[36]
MSN Music (Expert Witness)	A−^[126]
Pitchfork	9.0/10^[41]
Rolling Stone	^[32]
Spin	8/10^[90]

Red generally received positive reviews from contemporary critics, most of whom commended Swift's songwriting.^[72]^[127] Jon Dolan from Rolling Stone called the album "a 16-song geyser of willful eclecticism", said Swift "often succeeds in joining the Joni [Mitchell]/Carole King tradition of stark-relief emotional mapping", and that "When she's really on, her songs are like tattoos".^[32] Pitchfork's Brad Nelson lauded the "newfound patience to Swift's observations" and deeper exploration of emotion in Red's songwriting.^[41]

The album's production polarized critics. Billboard praised Red's radio-friendly tunes that catapulted Swift to even greater fame.^[25] Stephen Thomas Erlewine from AllMusic asserted that although Swift's lyrics about romantic relationships and social anxiety sound somewhat clumsy, they add substance to "the pristine pop confections", which makes Red a compelling album.^[34] The Guardian's Kate Mossman described the album as "one of the finest fantasies pop music has ever constructed".^[125] Roberts was impressed by the different musical styles as Swift "strives for something much more grand and accomplished".^[36] Caramanica agreed, commenting that the production is a striking feature of Red that proves Swift is more of a pop star than a country singer.^[26]

Critics often considered Red to be a sign of Swift growing up. Billboard considered Red to be her first adult pop album, describing her previous works as that of "an accomplished teenager".^[25] Caramanica stated that her growth was "largely musical, not experiential."^[26] He noted that she was beginning to show more maturity as a strategist and adult.^[26] Caramanica asserted that there are indications that Red shows her "body is as alive as her mind," which was "territory she's generally skipped before now."^[26] Dolan considered the album part "Joni Mitchell-influenced maturity binge" and part pop, describing the combination as "not just inevitable but natural."^[32] Spin's Michael Robbins characterized the album as a record "full of adult pleasures".^[90]

Some reviewers were more reserved in their praise. Jonathan Keefe from Slant Magazine considered Red not consistent enough to be "truly great" but asserted that some of the songs were "career-best work for Swift, who now sounds like the pop star she was destined to be all along".^[35] Michael Gallucci from The A.V. Club argued the music was more ambitious than Swift's previous records but considered the album as a whole "complicated and sometimes unfocused".^[48] He considered the duets boring and the occasional use of Auto-Tune to "sound like any number of indistinguishable female pop singers".^[48] Writing for MSN Music, Robert Christgau viewed Red as an inferior version of the Magnetic Fields' 1999 album 69 Love Songs but appreciated "Begin Again" and "Stay Stay Stay", considering them to "stay happy and hit just as hard" as songs on 69 Love Songs.^[126] The Daily Telegraph's James Lachno found the production bloated and commented the album would be better had Swift fully embraced mainstream pop and abandoned her old country sound.^[33] Mesfin Fekadu of the Associated Press asserted that the album "sounded empty" compared to Fearless (2008) and Speak Now (2010), but praised "I Almost Do" and the duets.^[128]

Accolades

Red received accolades in terms of both critical and popular recognition. Mainstream publications featuring Red on their lists of the best albums of 2012 included Billboard,^[129] The Daily Beast,^[130] The Guardian,^[131] Idolator,^[132] MTV News,^[133] Newsday,^[134] PopMatters,^[135] Rolling Stone,^[136] Spin,^[137] and Stereogum.^[138] Jon Caramanica ranked the album second on his list of 2012's best albums for The New York Times.^[139] Red was placed at number 17 on the 2012 Pazz & Jop, an annual mass critics' poll conducted by The Village Voice.^[140] Spin proclaimed Red one of 2012's best country albums.^[141]

At the 56th Grammy Awards in 2014, Red was nominated for Album of the Year and Best Country Album.^[142] The album received nominations at US country music awards, including two nominations for Album of the Year at the 2013 Country Music Association Awards^[143] and the 2013 Academy of Country Music Awards.^[144] It won Favorite Country Album at the 2013 American Music Awards,^[145] Top Album and Top Country Album at the 2013 Billboard Music Awards,^[146] Top Selling Album at the 2013 Canadian Country Music Association Awards,^[147] and Top Selling International Album of the Year at the 2014 Country Music Awards of Australia.^[148]

Impact

Red appeared on many publications' lists of the best albums of the 2010s. According to Metacritic, it was the fifteenth-most-acclaimed album of the decade.^[149] It featured on Atwood Magazine's unranked list,^[150] and was included on lists of The Independent^[151] and Pitchfork.^[152] It was ranked within the top 10 by Insider (first),^[153] Uproxx (third),^[154] Billboard (fourth),^[155] Rolling Stone (fourth),^[156] the Tampa Bay Times (ninth),^[157] and Stereogum (tenth).^[158] Taste of Country ranked Red as one of the best country albums of the decade.^[159] In 2023, Rolling Stone ranked Red at number 99 on its revised list of the 500 Greatest Albums of All Time.^[160]

The album's production straddling country and pop inspired Swift to venture into genres she had not tried before.^[161] The successful pop radio singles, specifically the dubstep-infused "I Knew You Were Trouble", served as a "signal flare" for Swift to collaborate with pop producers Max Martin and Shellback, who are known for radio-friendly pop, again.^[162]^[163] Upon reading reviews calling Red an inconsistent album, Swift fully embraced the electropop sound, transcending her earlier country image.^[164] Its upbeat pop production laid the groundwork for the electropop^[165] and synth-pop sound of her next album, 1989 (2014).^[161]^[166] Swift continued to explore pop with its successors Reputation (2017) and Lover (2019).^[167]

Red [was] where [Swift] proved herself not just the supreme pop songwriter of her generation, but one of the all-timers. [...] Red wasn't her first masterwork, but it's the one that established the Swiftian universe as a place where every lost scarf is a ticking time bomb that can take years to explode into a classic song.

–Rob Sheffield, Rolling Stone (2021)^[168]

Many critics claim Red as Swift's best body of work.^[169] According to Pitchfork, Red progressed Swift's sound "to meet the highest aspirations of her songwriting", watching her push herself outside of traditional boundaries "to stray into the interzone between pop and country".^[170] Clash demarcated Red as the turning point of Swift's career—it "was the first time Taylor actively stepped away from the pretty dresses and southern girl chic" to the outrage of "old fashioned listeners". According to the magazine, Red proved an album can be "both ground-breaking and wildly commercial", because avant-garde is not the only way to experiment with music, as Swift "opened a door for every other musician" in 2012 to coalesce multiple genres.^[171] Jordan Sargent of Spin named Red "one of the best pop albums of our time".^[172]

Various media outlets have credited Red with inspiring a generation of artists; The New York Times's Steven Hyden said Red encouraged new indie artists to put out music that is "aesthetically much closer to Swift's pop than anything in the rock underground".^[173] MTV said Red normalized intimacy in pop music and popularized Swift's vulnerable songwriting style with future artists such as Halsey, Kacey Musgraves, Troye Sivan, Billie Eilish, Olivia Rodrigo, and Conan Gray.^[174] Fans and critics have also dubbed Red an "autumnal album" due to its aesthetic and lyrical imagery.^[175] In 2019, an indie rock album titled ReRed, featuring Wild Pink, Adult Mom, Chris Farren, and other artists, was released as a tribute to Red. All of its proceeds go to Equal Justice Initiative.^[176]

In November 2020, following a dispute over the ownership of the masters to her back catalog, Swift began to re-record her first six studio albums.^[177] The first one was Fearless (Taylor's Version), released on April 9, 2021.^[178] On June 18, 2021, Swift announced Red (Taylor's Version) would be released on November 12, 2021, a week earlier than originally planned.^[179] The album contains all 30 songs Swift recorded for the 2012 release of Red;^[180] these include the charity single "Ronan", her recordings of the 2016 Little Big Town single "Better Man" and 2018 Sugarland single "Babe", the ten-minute version of "All Too Well", and six other previously unreleased tracks.^[181]^[182]

Track listing

*Red* standard track listing
No.	Title	Writer(s)	Producer(s)	Length
1.	"State of Grace"	Taylor Swift	Swift Nathan Chapman	4:55
2.	"Red"	Swift	Swift Chapman Dann Huff	3:43
3.	"Treacherous"	Swift Dan Wilson	Wilson	4:02
4.	"I Knew You Were Trouble"	Swift Max Martin Shellback	Martin Shellback	3:39
5.	"All Too Well"	Swift Liz Rose	Swift Chapman	5:29
6.	"22"	Swift Martin Shellback	Martin Shellback	3:52
7.	"I Almost Do"	Swift	Swift Chapman	4:04
8.	"We Are Never Ever Getting Back Together"	Swift Martin Shellback	Swift^{[note 3]} Martin Shellback	3:13
9.	"Stay Stay Stay"	Swift	Swift Chapman	3:25
10.	"The Last Time" (featuring Gary Lightbody of Snow Patrol)	Swift Lightbody Jacknife Lee	Lee	4:59
11.	"Holy Ground"	Swift	Jeff Bhasker	3:22
12.	"Sad Beautiful Tragic"	Swift	Swift Chapman	4:44
13.	"The Lucky One"	Swift	Bhasker	4:00
14.	"Everything Has Changed" (featuring Ed Sheeran)	Swift Sheeran	Butch Walker	4:05
15.	"Starlight"	Swift	Swift Chapman Huff	3:40
16.	"Begin Again"	Swift	Swift Chapman Huff	3:57
Total length:				65:09

Deluxe edition bonus tracks
No.	Title	Writer(s)	Producer(s)	Length
17.	"The Moment I Knew"	Swift	Swift Chapman	4:46
18.	"Come Back... Be Here"	Swift Wilson	Wilson	3:43
19.	"Girl at Home"	Swift	Swift Chapman	3:40
20.	"Treacherous" (original demo recording)	Swift Wilson	Wilson	4:00
21.	"Red" (original demo recording)	Swift	Swift Chapman	3:47
22.	"State of Grace" (acoustic version)	Swift	Swift Chapman	5:23
Total length:				25:19

Notes

"I Knew You Were Trouble" is stylized as "I Knew You Were Trouble." (with a period).

Personnel

Musicians

Taylor Swift – lead vocals, background vocals, acoustic guitar
Nathan Chapman – bass guitar, drums, acoustic guitar, electric guitar, keyboards, mandolin, percussion, piano, soloist, synthesizer, background vocals
Peggy Baldwin – cello
Brett Banducci – viola
Jeff Bhasker – bass guitar, keyboards, piano, background vocals
J. Bonilla – drums, percussion
Nick Buda – drums
Tom Bukovac – electric guitar
David Campbell – string arrangements, conducting
Daphne Chen – violin
Lauren Chipman – viola
Eric Darken – percussion
Marcia Dickstein – harp
Richard Dodd – cello
Paul Franklin – steel guitar
Eric Gorfain – violin
Dann Huff – bouzouki, electric guitar, high strung guitar, mandolin
Charlie Judge – accordion, Hammond B3, piano, upright piano, strings, synthaxe, synthesizer
Gina Kronstadt – violin
John Krovoza – cello
Marisa Kuney – violin
Jacknife Lee – bass guitar, guitar, keyboards
Max Martin – keyboards
Grant Mickelson – guitar
Anders Mouridsen – guitar
Jamie Muhoberac – cello
Neli Nikolaeva – violin
Owen Pallett – conductor, orchestration
Radu Pieptea – violin
Simeon Pillich – contrabass
Wes Precourt – violin
Bill Rieflin – drums
Shellback – bass guitar, guitar, acoustic guitar, electric guitar, keyboards
Jake Sinclair – bass guitar, background vocals
Jimmie Lee Sloas – bass guitar
Aaron Sterling – drums
Jeff Takiguchi – contrabass
Andy Thompson – guitar, electric piano
Ilya Toshinsky – mandolin
Butch Walker – drums, guitar, keyboards, percussion, background vocals
Patrick Warren – string arrangements
Amy Wickman – violin
Dan Wilson – bass guitar, electric guitar, piano, background vocals
Rodney Wirtz – violin
Jonathan Yudkin – fiddle, violin
Caitlin Evanson – background vocals
Elizabeth Huett – background vocals ("The Moment I Knew")
Tyler Sam Johnson – background vocals
Gary Lightbody – featured artist, background vocals
Ciara O'Leary – background vocals
Ed Sheeran – featured artist

Production

Taylor Swift – songwriting, production
Nathan Chapman – production, engineering
Joe Baldridge – engineering
Sam Bell – engineering
Matt Bishop – engineering
Delbert Bowers – assistant
Chad Carlson – engineering
Tom Coyne – mastering
Leland Elliott – assistant
Jeff Bhasker – production
Eric Eylands – assistant
Greg Fuess – assistant
Chris Galland – assistant
Şerban Ghenea – mixing
Matty Green – assistant
John Hanes – mixing engineering
Sam Holland – engineering
Dann Huff – production
David Huff – digital editing
Michael Ilbert – engineer
Tyler Sam Johnson – guitar engineer
Jacknife Lee – engineering, production, songwriting, programming
Gary Lightbody – songwriting
Steve Marcantonio – engineer
Manny Marroquin – mixing
Max Martin – production, songwriting
Seth Morton – assistant
Justin Niebank – mixing
Chris Owens – assistant
John Rausch – engineering
Matt Rausch – engineering
Tim Roberts – assistant
Eric Robinson – engineering
Liz Rose – songwriting
Pawel Sek – engineering
Shellback – production, songwriting, programming
Ed Sheeran – songwriting
Jake Sinclair – engineering
Mark "Spike" Stent – mixing
Andy Thompson – engineering
Butch Walker – production
Hank Williams – mastering
Brian David Willis – engineer
Dan Wilson – production, songwriting

Visuals and design

Taylor Swift – creative director
Sarah Barlow – photography
Austin Hale – designing
Jemma Muradian – hair stylist
Bethany Newman – art direction
Josh Newman – art direction
Lorrie Turk – make-up artist

Managerial

Scott Borchetta – executive producer
Leann Bennett – production coordination
Jason Campbell – production coordination
Mike "Frog" Griffith – production coordination
JoAnn Tominaga – production coordination

Charts

Weekly charts

2012–2013 weekly chart performance for *Red*
Chart (2012–2013)	Peak position
Australian Albums (ARIA)^[108]	1
Australian Country Albums (ARIA)^[184]	1
Austrian Albums (Ö3 Austria)^[185]	3
Belgian Albums (Ultratop Flanders)^[186]	2
Belgian Albums (Ultratop Wallonia)^[187]	25
Canadian Albums (Billboard)^[109]	1
Chinese Albums (Sino Chart)^[188]	1
Croatian Albums (HDU)^[189]	27
Danish Albums (Hitlisten)^[190]	3
Dutch Albums (Album Top 100)^[191]	7
Finnish Albums (Suomen virallinen lista)^[192]	49
French Albums (SNEP)^[193]	30
German Albums (Offizielle Top 100)^[194]	5
Irish Albums (IRMA)^[111]	1
Italian Albums (FIMI)^[195]	3
Japanese Albums (Oricon)^[196]	3
Mexican Albums (Top 100 Mexico)^[197]	4
New Zealand Albums (RMNZ)^[110]	1
Norwegian Albums (VG-lista)^[198]	2
Portuguese Albums (AFP)^[199]	8
Scottish Albums (OCC)^[112]	1
South African Albums (RISA)^[200]	4
South Korean Albums (Gaon)^[201]	12
South Korean International Albums (Gaon)^[202]	1
Spanish Albums (PROMUSICAE)^[203]	4
Swedish Albums (Sverigetopplistan)^[204]	8
Swiss Albums (Schweizer Hitparade)^[205]	9
UK Albums (OCC)^[206]	1
US Billboard 200^[207]	1
US Top Country Albums (Billboard)^[208]	1

2019–2023 weekly chart performance for *Red*
Chart (2019–2023)^{[note 4]}	Peak position
Austrian Albums (Ö3 Austria)^[209]	4
Croatian International Albums (HDU)^[210]	4
German Albums (Offizielle Top 100)^[211]	8
Greek Albums (IFPI)^[212]	1
Swiss Albums (Schweizer Hitparade)^[213]	7
US Independent Albums (Billboard)^[214]	3

Year-end charts

2012 year-end charts for *Red*
Chart (2012)	Position
Australian Albums (ARIA)^[215]	7
Canadian Albums (Billboard)^[216]	10
Danish Albums (Hitlisten)^[217]	84
Japanese Albums (Oricon)^[218]	64
Mexican Albums (AMPROFON)^[219]	56
New Zealand Albums (RMNZ)^[220]	6
South Korean International Albums (Gaon)^[221]	36
UK Albums (OCC)^[222]	42
US Billboard 200^[223]	4
US Top Country Albums (Billboard)^[224]	1

2013 year-end charts for *Red*
Chart (2013)	Position
Australian Albums (ARIA)^[225]	24
Belgian Albums (Ultratop Flanders)^[226]	140
Canadian Albums (Billboard)^[227]	8
Japanese Albums (Oricon)^[228]	38
French Albums (SNEP)^[229]	194
New Zealand Albums (RMNZ)^[230]	17
South Korean International Albums (Gaon)^[231]	98
UK Albums (OCC)^[232]	27
US Billboard 200^[233]	2
US Top Country Albums (Billboard)^[234]	1

2014 year-end charts for *Red*
Chart (2014)	Position
Australian Albums (ARIA)^[235]	96
Chinese Albums (Sino Chart)^[236]	18
South Korean International Albums (Gaon)^[237]	86
US Billboard 200^[238]	106
US Top Country Albums (Billboard)^[239]	24

2015 year-end charts for *Red*
Chart (2015)	Position
Japanese Albums (Billboard Japan)^[240]	94
US Billboard 200^[241]	111

2017 year-end chart for *Red*
Chart (2017)	Position
US Top Country Albums (Billboard)^[242]	48

2018 year-end chart for *Red*
Chart (2018)	Position
US Top Country Albums (Billboard)^[243]	28

2019 year-end chart for *Red*
Chart (2019)	Position
US Top Country Albums (Billboard)^[244]	25

2020 year-end chart for *Red*
Chart (2020)	Position
US Top Country Albums (Billboard)^[245]	25

2021 year-end charts for *Red*
Chart (2021)	Position
Austrian Albums (Ö3 Austria)^[246]	70
US Independent Albums (Billboard)^[247]	28
US Top Country Albums (Billboard)^[248]	15

2022 year-end chart for *Red*
Chart (2022)	Position
US Top Country Albums (Billboard)^[249]	62

Decade-end charts

2010s decade-end charts for *Red*
Chart (2010–2019)	Position
Australian Albums (ARIA)^[250]	23
UK Albums (OCC)^[251]	96
US Billboard 200^[252]	32
US Top Country Albums (Billboard)^[253]	11

All-time charts

All-time charts for *Red*
Chart	Position
US Billboard 200^{[note 5]}	140
US Billboard 200 (Women)^{[note 6]}	37
US Top Country Albums (Billboard)^{[note 7]}	72

Certifications and sales

Certifications for *Red*, with pure sales where available
Region	Certification	Certified units/sales
Australia (ARIA)^[113]	5× Platinum	350,000^‡
Austria (IFPI Austria)^[259]	Platinum	20,000^*
Belgium (BEA)^[260]	2× Platinum	60,000^‡
Brazil (Pro-Música Brasil)^[261]	Gold	20,000^*
Canada (Music Canada)^[114]	4× Platinum	320,000^{^}
Colombia^[262]	Gold
Denmark (IFPI Danmark)^[263]	Platinum	20,000^‡
France (SNEP)^[264]	Gold	50,000^‡
Germany (BVMI)^[265]	Platinum	200,000^‡
Ireland (IRMA)^[266]	Platinum	15,000^{^}
Japan (RIAJ)^[267]	Platinum	250,000^{^}
Japan (RIAJ)^[268] Digital download	Gold	100,000^*
Mexico (AMPROFON)^[269]	Gold	30,000^{^}
New Zealand (RMNZ)^[115]	2× Platinum	30,000^{^}
Poland (ZPAV)^[270]	Platinum	20,000^‡
Singapore (RIAS)^[271]	2× Platinum	20,000^*
Sweden (GLF)^[272]	Gold	20,000^‡
Switzerland (IFPI Switzerland)^[273]	Platinum	30,000^‡
United Kingdom (BPI)^[118]	2× Platinum	619,000^{[note 8]}
United States (RIAA)^[107]	7× Platinum	4,582,000^{[note 9]}
^* Sales figures based on certification alone. ^{^} Shipments figures based on certification alone. ^‡ Sales+streaming figures based on certification alone.

Footnotes

^ Attributed to publications including Rolling Stone,^[11] NPR,^[22] Beats Per Minute,^[23] and Consequence^[24]
^ Swift's previous studio albums Fearless and Speak Now respectively spent 11 weeks in 2008–09 and six weeks in 2010–11.^[102]
^ The album's liner notes credit Martin and Shellback as producers, but the Recording Academy, in a list announcing nominees for the Grammy Award for Record of the Year in 2012, additionally credits Swift as a producer.^[183]
^ The chart positions listed below coincided with the release of the 2021 re-recording Red (Taylor's Version). In Austria, Germany, and Switzerland, the sales performance of the original Red was combined with that of Red (Taylor's Version).
^ Complied by Billboard for albums 1963–2015^[254]^[255]
^ Compiled by Billboard for albums 1963–2017^[256]^[257]
^ Compiled by Billboard for albums 1963–2016^[258]
^ UK sales for Red of June 2021^[117]
^ US sales for Red as of January 2024^[106]

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Cited literature

Lamb, Charles W.; Hair, Joe F.; McDaniel, Carl (2014). MKTG 8: Principles of Marketing. Cengage. ISBN 978-1-305-43699-2.
McNutt, Myles (2020). "From 'Mine' to 'Ours': Gendered Hierarchies of Authorship and the Limits of Taylor Swift's Paratextual Feminism". Communication, Culture and Critique. 13 (1): 72–91. doi:10.1093/ccc/tcz042.
Perone, James E. (2017). "Red". The Words and Music of Taylor Swift. The Praeger Singer-Songwriter Collection. ABC-Clio. pp. 43–54. ISBN 978-1-4408-5294-7.
Spencer, Liv (2013). Taylor Swift: The Platinum Edition. ECW Press. ISBN 978-1-77041-151-7.
Tanner, Grafton (2020). The Circle of the Snake: Nostalgia and Utopia in the Age of Big Tech. John Hunt Publishing. ISBN 978-1-78904-023-4. Archived from the original on June 24, 2021. Retrieved December 31, 2020.

External links

Red at Discogs (list of releases)

[25] Attributed to publications including Rolling Stone,^[11] NPR,^[22] Beats Per Minute,^[23] and Consequence^[24]

[104] Swift's previous studio albums Fearless and Speak Now respectively spent 11 weeks in 2008–09 and six weeks in 2010–11.^[102]

[186] The album's liner notes credit Martin and Shellback as producers, but the Recording Academy, in a list announcing nominees for the Grammy Award for Record of the Year in 2012, additionally credits Swift as a producer.^[183]

[212] The chart positions listed below coincided with the release of the 2021 re-recording Red (Taylor's Version). In Austria, Germany, and Switzerland, the sales performance of the original Red was combined with that of Red (Taylor's Version).

[260] Complied by Billboard for albums 1963–2015^[254]^[255]

[263] Compiled by Billboard for albums 1963–2017^[256]^[257]

[265] Compiled by Billboard for albums 1963–2016^[258]

[UKalbums-281] UK sales for Red of June 2021^[117]

[282] US sales for Red as of January 2024^[106]

[notes-1] Swift, Taylor (2012). Red (vinyl liner notes). Nashville: Big Machine Records. BMR310400D.

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@@ Line 20: / Line 20: @@
 * [[The Village (studio)|Village]] (Los Angeles)
 * Garage ([[Topanga, California|Topanga Canyon]])
-* Ruby Red ([[Atlanta]])<ref name="notes">{{cite AV media notes|title=Red|people=[[Taylor Swift]]|publisher=[[Big Machine Records]]|location=Nashville|year=2012|type=vinyl liner notes|id=BMR310400D}}</ref>
+* Ruby Red ([[Atlanta]])<ref name="notes">{{cite AV media notes|title=Red|last=Swift|first=Taylor|publisher=[[Big Machine Records]]|location=Nashville|year=2012|type=vinyl liner notes|id=BMR310400D}}</ref>
 | genre        = <!--According to reliable published sources cited in the "Critical response" section. Please source if you are going to change the order of genres.-->
 * [[Pop music|Pop]]
 * [[Country music|country]]
 * [[Rock music|rock]]
-* [[Folk music|folk]]
+* [[folk music|folk]]
 | length       = 65:09
 | label        = *[[Big Machine Records|Big Machine]]
@@ Line 74: / Line 74: @@
 == Writing and production ==
-Swift recalled working on her fourth studio album within two years—she wrote songs by herself and produced them with Chapman within the first year, and engaged other producers within the second year. She explained that she recruited producers whose works had instilled curiosities in her.<ref name="yahoo" /><ref name="USA_Today" /> While experimenting sonically, she prioritized conveying her emotional sentiments over what she "should [...] do from a production standpoint, or what works in this genre", as with her typical songwriting approach.<ref name="BB_cover">{{cite magazine |last=Gallo |first=Phil |date=October 22, 2012 |title=Taylor Swift's ''Red'': The ''Billboard'' Cover Story |url=https://www.billboard.com/articles/news/474541/taylor-swifts-red-the-billboard-cover-story |archive-url=https://web.archive.org/web/20130614085411/https://www.billboard.com/articles/news/474541/taylor-swifts-red-the-billboard-cover-story |archive-date=June 14, 2013 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> On songs that Swift co-wrote, she first presented her co-writers with the feelings she had been going through, played a rough version of her song on guitar, and asked for their ideas on ways to better convey the story.<ref name="BB_qa" /> Each track's production corresponded to the emotion it portrayed, to which Swift attributed the album's "eclectic blend of music".<ref name="yahoo" />
+Swift recalled working on her fourth studio album within two years—she wrote songs by herself and produced them with Chapman within the first year, and engaged other producers within the second year. She explained that she recruited producers whose works had instilled curiosities in her.<ref name="yahoo" /><ref name="USA_Today" /> While experimenting sonically, she prioritized conveying emotional sentiments through her lyrics over what particular sounds she should pursue, as with her typical approach.<ref name="BB_cover">{{cite magazine |last=Gallo |first=Phil |date=October 22, 2012 |title=Taylor Swift's ''Red'': The ''Billboard'' Cover Story |url=https://www.billboard.com/articles/news/474541/taylor-swifts-red-the-billboard-cover-story |archive-url=https://web.archive.org/web/20130614085411/https://www.billboard.com/articles/news/474541/taylor-swifts-red-the-billboard-cover-story |archive-date=June 14, 2013 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> On songs that Swift co-wrote, she first presented her co-writers with the feelings she had been going through, played a rough version of her song on guitar, and asked for their ideas on ways to better convey the story.<ref name="BB_qa" /> Each track's production corresponded to the emotion it portrayed, to which Swift attributed the album's "eclectic blend of music".<ref name="yahoo" />
 Production sessions took place in between stops of the Speak Now World Tour.<ref name=":0" /> The first song that Swift wrote was "[[All Too Well]]"; during a February 2011 rehearsal of the tour, she [[Ad libitum|ad-libbed]] lyrics written after a broken relationship while playing a four-[[chord (music)|chord]] guitar [[riff]] as her touring band spontaneously played backing instruments.<ref name="rs500" /> Swift told ''[[Rolling Stone]]'' that this relationship caused "a few roller coasters", and she channeled the tumult into the songs.<ref name=":0">{{Cite magazine |last=Doyle |first=Patrick |date=September 13, 2012 |title=Taylor Swift's Bold New Direction |magazine=[[Rolling Stone]] |pages=17–18 |issue=1165 |id={{ProQuest|1038455512}}}}</ref> She continued writing tracks like "[[Red (Taylor Swift song)|Red]]" and "[[State of Grace (song)|State of Grace]]" and produced them with Chapman in her creative base of [[Nashville, Tennessee|Nashville]].<ref name="rs500" /> "Red" was a critical point during the album's formation;<ref name="BB_qa" /> Big Machine's president [[Scott Borchetta]] overheard the production and suggested a more pop-oriented sound.<ref name="Time">{{cite magazine|url=https://time.com/3583129/power-of-taylor-swift-cover/|title=The Power of Taylor Swift|first=Jack|last=Dickey|magazine=[[Time (magazine)|Time]]|url-access=limited|date=November 13, 2014|access-date=August 8, 2020|archive-date=August 19, 2020|archive-url=https://web.archive.org/web/20200819085008/https://time.com/3583129/power-of-taylor-swift-cover/|url-status=live}}</ref> After several failed attempts at the desired outcome, Swift asked Borchetta to recruit [[Max Martin]], a Swedish producer known for his chart-topping pop songs.<ref name="BB_qa" /><ref name="Time" /> Swift travelled to Los Angeles to work with Martin and his frequent collaborator [[Shellback (record producer)|Shellback]], who produced the songs "[[22 (Taylor Swift song)|22]]", "[[I Knew You Were Trouble]]", and "[[We Are Never Ever Getting Back Together]]".<ref name="Time" />
-The final version of "Red" was produced by Swift, Chapman, and [[Dann Huff]], and the three produced two more tracks: "Starlight" and "[[Begin Again (Taylor Swift song)|Begin Again]]".<ref name="USA_Today" /> Swift engaged [[Jeff Bhasker]] because she was intrigued by his [[Drum machine|drum]] production, citing "[[We Are Young]]" (2011) by the indie band [[Fun (band)|Fun]] as an example.<ref name="yahoo" /><ref name="Nash">{{cite news |last=Price |first=Deborah Evans |date=October 29, 2012 |title=Taylor Swift Talks Writing, Relationships, Rejects and New Album ''Red'' |url=http://www.nashcountrydaily.com/2012/10/29/taylor-swift-talks-writing-relationships-rejects-and-new-album-red/ |archive-url=https://web.archive.org/web/20190302061136/http://www.nashcountrydaily.com/2012/10/29/taylor-swift-talks-writing-relationships-rejects-and-new-album-red/ |archive-date=March 2, 2019 |newspaper=[[Nash Country Weekly]]}}</ref> Bhasker produced two songs: "[[Holy Ground (song)|Holy Ground]]" and "The Lucky One".<ref name="Credits">{{cite web |title=Taylor Swift – ''Red'' Album Personnel |url=http://www.allmusic.com/album/red-mw0002414735/credits |url-status=live |archive-url=https://web.archive.org/web/20170629160713/http://www.allmusic.com/album/red-mw0002414735/credits |archive-date=June 29, 2017 |access-date=October 25, 2012 |website= |publisher=[[AllMusic]]}}</ref> She worked with [[Butch Walker]] on "[[Everything Has Changed]]"—a duet with the English singer-songwriter [[Ed Sheeran]], and [[Dan Wilson (musician)|Dan Wilson]] on "[[Treacherous (Taylor Swift song)|Treacherous]]".<ref name="USA_Today" /> She wrote "[[The Last Time (Taylor Swift song)|The Last Time]]" with [[Gary Lightbody]] and [[Jacknife Lee]] of the Irish-Scottish band [[Snow Patrol]]; Lightbody featured as a guest vocalist, and Lee produced the track.<ref name="BB_qa" /><ref name="USA_Today" /> Swift named the album ''Red'', denoting the color to which she associated the tumultuous and extreme emotions—"intense love, intense frustration, jealousy, confusion"—that she was experiencing.<ref>{{Cite news |last=Mckinley |first=James C, Jr. |date=August 15, 2012 |title=New Album Coming From Taylor Swift |work=[[The New York Times]] |page=C3 |id={{ProQuest|1033375755}}}}</ref><ref name="samlansky" /> By the time recording began, Swift had written more than 30 songs, and 16 of which made the final cut of the standard edition; Swift was the sole writer of nine tracks.<ref name="rs500" /><ref name="Nash" />
+The final version of "Red" was produced by Swift, Chapman, and [[Dann Huff]], and the three produced two more tracks: "Starlight" and "[[Begin Again (Taylor Swift song)|Begin Again]]".<ref name="USA_Today" /> Swift engaged [[Jeff Bhasker]] because she was intrigued by his drum production, citing "[[We Are Young]]" (2011) by the indie band [[Fun (band)|Fun]] as an example.<ref name="yahoo" /><ref name="Nash">{{cite news |last=Price |first=Deborah Evans |date=October 29, 2012 |title=Taylor Swift Talks Writing, Relationships, Rejects and New Album ''Red'' |url=http://www.nashcountrydaily.com/2012/10/29/taylor-swift-talks-writing-relationships-rejects-and-new-album-red/ |archive-url=https://web.archive.org/web/20190302061136/http://www.nashcountrydaily.com/2012/10/29/taylor-swift-talks-writing-relationships-rejects-and-new-album-red/ |archive-date=March 2, 2019 |newspaper=[[Nash Country Weekly]]}}</ref> Bhasker produced two songs: "[[Holy Ground (song)|Holy Ground]]" and "The Lucky One".<ref name="Credits">{{cite web |title=Taylor Swift – ''Red'' Album Personnel |url=http://www.allmusic.com/album/red-mw0002414735/credits |url-status=live |archive-url=https://web.archive.org/web/20170629160713/http://www.allmusic.com/album/red-mw0002414735/credits |archive-date=June 29, 2017 |access-date=October 25, 2012 |website= |publisher=[[AllMusic]]}}</ref> She worked with [[Butch Walker]] on "[[Everything Has Changed]]"—a duet with the English singer-songwriter [[Ed Sheeran]], and [[Dan Wilson (musician)|Dan Wilson]] on "[[Treacherous (Taylor Swift song)|Treacherous]]".<ref name="USA_Today" /> She wrote "[[The Last Time (Taylor Swift song)|The Last Time]]" with [[Gary Lightbody]] and [[Jacknife Lee]] of the Irish-Scottish band [[Snow Patrol]]; Lightbody featured as a guest vocalist, and Lee produced the track.<ref name="BB_qa" /><ref name="USA_Today" /> Swift named the album ''Red'', denoting the color to which she associated the tumultuous and extreme emotions that she was experiencing—"intense love, intense frustration, jealousy, confusion".<ref>{{Cite news |last=Mckinley |first=James C, Jr. |date=August 15, 2012 |title=New Album Coming From Taylor Swift |work=[[The New York Times]] |page=C3 |id={{ProQuest|1033375755}}}}</ref><ref name="samlansky" /> By the time recording began, Swift had written more than 30 songs, and 16 of which made the final cut of the standard edition; Swift was the sole writer of nine tracks.<ref name="rs500" /><ref name="Nash" />
 == Composition ==
-=== Music ===
+=== Music and lyrics ===
-''Red'' spans genres and departs from the country-pop sound of Swift's past albums.<ref name="Bream-2023">{{Cite web |last=Bream |first=Jon |date=June 20, 2023 |title=Our Music Critic Ranks Taylor Swift's Albums From Worst to Best |url=https://www.startribune.com/taylor-swift-jack-antonoff-aaron-dessner-grammy-folklore-1989-red-speak-now-kanye-west-harry-styles/600283837/ |url-access=subscription |access-date=2023-07-21 |website=[[Star Tribune]]}}</ref> It incorporates eclectic styles of pop, [[folk music|folk]], and rock, namely [[dance-pop]], [[indie pop]], [[dubstep]], [[Britrock]], and arena rock.{{Sfn|Perone|2017|p=45}}{{NoteTag|Attributed to publications including ''[[Rolling Stone]]'',<ref name="rs500" /> [[NPR]],<ref name="npr">{{cite web |last=English |first=J. |date=August 28, 2017 |title=Shocking Omissions: Taylor Swift's ''Red'', A Canonical Coming-Of-Age Album |url=https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album |url-status=live |archive-url=https://web.archive.org/web/20210412213355/https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album |archive-date=April 12, 2021 |access-date=December 25, 2020 |work=[[NPR]]}}</ref> ''[[Beats Per Minute (website)|Beats Per Minute]]'',<ref>{{cite web|url=https://beatsperminute.com/second-look-taylor-swift-1989-taylors-version/|title=Second Look: Taylor Swift – ''1989 (Taylor's Version)''|last=Wohlmacher|first=John|date=November 16, 2023|website=[[Beats Per Minute (website)|Beats Per Minute]]|access-date=November 23, 2023}}</ref> and ''[[Consequence (publication)|Consequence]]''<ref name="Consequence-2021">{{Cite web |date=November 9, 2021 |editor-last=Siroky |editor-first=Mary |title=Every Taylor Swift Album Ranked from Worst to Best |url=https://consequence.net/2022/10/taylor-swift-albums-ranked-list/9/ |url-status=live |archive-url=https://web.archive.org/web/20220328011127/https://consequence.net/2021/11/taylor-swift-albums-ranked-list/ |archive-date=March 28, 2022 |access-date=November 10, 2021 |website=[[Consequence (publication)|Consequence]]}}</ref>}} In addition to the [[Acoustic music|acoustic]] instruments incorporated into her previous albums, ''Red'' features electronic [[Synthesizer|synths]] and [[Drum machine|drum machines]].<ref name="Bream-2023" /> Swift called ''Red''<nowiki/>'s diverse musical styles a "metaphor for how messy a real breakup is" and described it as her "only true breakup album".<ref name="rs500" /> Its first half consists of country and pop songs intertwined with each other;<ref name="billboard" /> three tracks—"22", "I Knew You Were Trouble", and "We Are Never Ever Getting Back Together"—have a pop production that incorporates electronic vocal processing and [[hip hop music|hip-hop]]-influenced [[bass drum]]s.<ref name="The New York Times" />{{Sfn|Perone|2017|pp=46–48}} The [[rock music|rock]] stylings of ''Speak Now'' expand on tracks "[[State of Grace (song)|State of Grace]]", "Red", and "Holy Ground", which the musicologist James E. Perone found reminiscent of 1980s arena rock.{{sfn|Perone|2017|pp=46–49}}<ref>{{cite web|last=Barnes|first=Kelsey|url=https://www.altpress.com/taylor-swift-albums-ranked/|title=Every Taylor Swift Album Ranked|website=[[Alternative Press (magazine)|Alternative Press]]|date=February 21, 2023|access-date=November 6, 2023}}</ref> Other tracks, such as "I Almost Do", "Stay Stay Stay", "Sad Beautiful Tragic", and "Begin Again", embrace the country sound of Swift's earlier music.<ref name="ToC">{{cite web |last=Dukes |first=Billy |date=October 19, 2012 |title=Taylor Swift, ''Red'' |url=https://tasteofcountry.com/taylor-swift-red/ |url-status=live |archive-url=https://web.archive.org/web/20171104175536/http://tasteofcountry.com/taylor-swift-red/ |archive-date=November 4, 2017 |access-date=December 25, 2020 |work=[[Taste of Country]]}}</ref>{{sfn|Perone|2017|p=52}}
+''Red'' incorporates various musical styles across pop, rock, and [[Folk music|folk]], in addition to the country-pop sound of Swift's past albums,<ref name="Bream-2023">{{Cite web |last=Bream |first=Jon |date=June 20, 2023 |title=Our Music Critic Ranks Taylor Swift's Albums From Worst to Best |url=https://www.startribune.com/taylor-swift-jack-antonoff-aaron-dessner-grammy-folklore-1989-red-speak-now-kanye-west-harry-styles/600283837/ |url-access=subscription |access-date=2023-07-21 |website=[[Star Tribune]]}}</ref>{{Sfn|Perone|2017|p=45}} namely [[dance-pop]], [[indie pop]], [[dubstep]], [[Britrock]], and arena rock.{{NoteTag|Attributed to publications including ''[[Rolling Stone]]'',<ref name="rs500" /> [[NPR]],<ref name="npr"/> ''[[Beats Per Minute (website)|Beats Per Minute]]'',<ref>{{cite web|url=https://beatsperminute.com/second-look-taylor-swift-1989-taylors-version/|title=Second Look: Taylor Swift – ''1989 (Taylor's Version)''|last=Wohlmacher|first=John|date=November 16, 2023|website=[[Beats Per Minute (website)|Beats Per Minute]]|access-date=November 23, 2023}}</ref> and ''[[Consequence (publication)|Consequence]]''<ref name="Consequence-2021"/>}} The arrangements of its songs include [[Acoustic music|acoustic]] instruments, electronic [[Synthesizer|synths]], and [[Drum machine|drum machines]].<ref name="Bream-2023" /> Calling ''Red'' her "only true breakup album", Swift said that the diverse musical styles were a "metaphor for how messy a real breakup is".<ref name="rs500" /> Its first half consists of country and pop songs intertwined with each other;<ref name="billboard" /> "22", "I Knew You Were Trouble", and "We Are Never Ever Getting Back Together" have a pop production that incorporates electronic vocal processing and [[hip hop music|hip-hop]]-influenced [[bass drum]]s.<ref name="The New York Times" />{{Sfn|Perone|2017|pp=46–48}} The rock stylings of ''Speak Now''<ref>{{cite web|last=Barnes|first=Kelsey|url=https://www.altpress.com/taylor-swift-albums-ranked/|title=Every Taylor Swift Album Ranked|website=[[Alternative Press (magazine)|Alternative Press]]|date=February 21, 2023|access-date=November 6, 2023}}</ref> expand on "State of Grace", "Red", and "Holy Ground", which the [[musicologist]] James E. Perone found reminiscent of 1980s arena rock.{{sfn|Perone|2017|pp=46–49}} Other songs, such as "I Almost Do", "Stay Stay Stay", "Sad Beautiful Tragic", and "Begin Again", continue the country sound of Swift's earlier music.<ref name="ToC">{{cite web |last=Dukes |first=Billy |date=October 19, 2012 |title=Taylor Swift, ''Red'' |url=https://tasteofcountry.com/taylor-swift-red/ |url-status=live |archive-url=https://web.archive.org/web/20171104175536/http://tasteofcountry.com/taylor-swift-red/ |archive-date=November 4, 2017 |access-date=December 25, 2020 |work=[[Taste of Country]]}}</ref>{{sfn|Perone|2017|p=52}}
-Critics were divided on the album's genre classification. Jon Dolan's review for ''Rolling Stone'' appeared in their column for country music, but he described Swift's musical foundation as "post-country rock".<ref name="Rolling Stone" /> Some reviewers commented that ''Red'' blurred the divide between country and pop,<ref name="billboard" /><ref name="Telegraph" /> but others called it a straightforward pop album with little trace of country.<ref name="am" /><ref name="Slant" /> The ''[[Los Angeles Times]]''{{'}} Randall Roberts and ''[[The New York Times]]''{{'}} [[Jon Caramanica]] wrote that ''Red'' signified Swift's inevitable move in mainstream pop to broaden her audience. The former said much of the album could perform well on commercial country radio but at its core, it is "perfectly rendered American popular music" with influences from modern trends;<ref name="latimes" /> the latter described Swift as "a pop star in a country context".<ref name="The New York Times" /> For ''[[American Songwriter]]''{{'s}} Jewly Hight, debating Swift's genre was pointless because her music was meant for a young audience who thought of music "[[iPod]] shuffle-fluidly".<ref>{{Cite web |last=Hight |first=Jewly |date=2012-10-26 |title=Taylor Swift: ''Red'' |url=https://americansongwriter.com/taylor-swift-red/ |access-date=2022-12-12 |website=[[American Songwriter]] |archive-date=July 26, 2021 |archive-url=https://web.archive.org/web/20210726094520/https://americansongwriter.com/taylor-swift-red/ |url-status=live }}</ref>
+Critics were divided on the album's genre classification. Jon Dolan's review for ''Rolling Stone'' appeared in the magazine's column for country music, but he described its musical foundation as "post-country rock".<ref name="Rolling Stone" /> Some reviewers commented that ''Red'' blurred the divide between country and pop,<ref name="billboard" /><ref name="Telegraph" /> but others called it a straightforward pop album with little trace of country.<ref name="am" /><ref name="Slant" /> According to Randall Roberts of the ''[[Los Angeles Times]]'' and [[Jon Caramanica]] of ''[[The New York Times]]'', ''Red'' was Swift's inevitable move from country into mainstream pop to broaden her audience. The former said much of the album could perform well on commercial country radio but at its core, it is "perfectly rendered American popular music" with contemporary influences;<ref name="latimes" /> the latter described Swift as "a pop star in a country context".<ref name="The New York Times" /> For ''[[American Songwriter]]''{{'s}} Jewly Hight, debating Swift's genre was pointless because her music was meant for a young audience open to diverse styles for their digital [[Playlist|playlists]].<ref>{{Cite web |last=Hight |first=Jewly |date=2012-10-26 |title=Taylor Swift: ''Red'' |url=https://americansongwriter.com/taylor-swift-red/ |access-date=2022-12-12 |website=[[American Songwriter]] |archive-date=July 26, 2021 |archive-url=https://web.archive.org/web/20210726094520/https://americansongwriter.com/taylor-swift-red/ |url-status=live }}</ref>[[File:Joni Mitchell 1983.jpg|thumb|upright|left|[[Joni Mitchell]]'s ''[[Blue (Joni Mitchell album)|Blue]]'' (1971) inspired Swift's songwriting on ''Red''.|alt=Joni Mitchell, Canadian singer-songwriter, playing a guitar]]
+The songs on ''Red'' are autobiographical,<ref name=":1">{{Cite web |last=Yoshida |first=Emily |date=November 10, 2017 |title=Taylor Swift's ''Red'' and the Art of Never Seeing It Coming |url=https://www.vulture.com/2017/11/revisiting-taylor-swifts-album-red.html |url-access=limited |access-date=August 23, 2024 |website=[[Vulture (website)|Vulture]]}}</ref> forming a loose concept about the aftermath of an intense breakup, detailing loss, pain, abandonment, and regrets.{{Sfn|Perone|2017|p=43}} According to Swift, most of the album was inspired by an ex-boyfriend who contacted her after listening to it and described the experience to her as "bittersweet".<ref name="vulture">{{cite web |last=Rosen |first=Jody |author-link=Jody Rosen |date=November 25, 2013 |title=Why Taylor Swift Is the Reigning Queen of Pop |url=https://www.vulture.com/2013/11/taylor-swift-reigning-queen-of-pop.html |url-access=limited |url-status=live |archive-url=https://web.archive.org/web/20131119003714/https://www.vulture.com/2013/11/taylor-swift-reigning-queen-of-pop.html |archive-date=November 19, 2013 |access-date=February 25, 2021 |work=[[Vulture (website)|Vulture]]}}</ref> Whereas her previous songs contain fantasy-driven narratives and happy endings, ''Red'' realizes the uneasy reality of how a seemingly enduring relationship can painfully end.<ref name="Pitchfork" /> In the album's physical booklet, Swift quotes a line from [[Pablo Neruda]]'s poem ''Tonight I Can Write The Saddest Lines'',<ref>{{cite web|url=https://www.wsj.com/articles/BL-SEB-72304|title=The Platinum Poetry of Taylor Swift|first=Christopher John|last=Farley|website=[[The Wall Street Journal]]|url-access=subscription|date=October 31, 2012|access-date=November 22, 2021|archive-date=November 22, 2021|archive-url=https://web.archive.org/web/20211122100434/https://www.wsj.com/articles/BL-SEB-72304|url-status=live}}</ref> "Love is so short, forgetting is so long", which she found suitable for the album's overarching theme.<ref>{{cite web |date=November 2, 2012 |title=Taylor Swift: 'My Confidence Is Easy to Shake' |url=https://www.npr.org/2012/11/03/164186569/taylor-swift-my-confidence-is-easy-to-shake |url-status=live |archive-url=https://web.archive.org/web/20220428003156/https://www.npr.org/2012/11/03/164186569/taylor-swift-my-confidence-is-easy-to-shake |archive-date=April 28, 2022 |access-date=November 22, 2021 |publisher=[[NPR]]}}</ref> Expanding on her country-music beginnings,<ref name="spinpop">{{cite web|url=https://www.spin.com/2017/06/taylor-swift-red-essay/|title=Listen to Taylor Swift's ''Red'', One of the Best Pop Albums of Our Time|first=Jordan|last=Sargent|work=[[Spin (magazine)|Spin]]|date=June 16, 2017|access-date=December 25, 2020|archive-date=November 1, 2020|archive-url=https://web.archive.org/web/20201101062952/https://www.spin.com/2017/06/taylor-swift-red-essay/|url-status=live}}</ref> Swift's songwriting retains the storytelling aspect by setting up scenes and characters for each track's narrative.<ref name=":1" /><ref name="npr">{{cite web |last=English |first=J. |date=August 28, 2017 |title=Shocking Omissions: Taylor Swift's ''Red'', A Canonical Coming-Of-Age Album |url=https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album |url-status=live |archive-url=https://web.archive.org/web/20210412213355/https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album |archive-date=April 12, 2021 |access-date=December 25, 2020 |publisher=[[NPR]]}}</ref> She was additionally inspired by [[Joni Mitchell]]'s songcraft on ''[[Blue (Joni Mitchell album)|Blue]]'' (1971) for how it "explores somebody's soul so deeply".<ref name="rsMitchell">{{cite magazine |date=June 22, 2016 |title=Joni Mitchell: 15 Great Artists Influenced by the ''Blue'' Singer |url=https://www.rollingstone.com/music/music-lists/joni-mitchell-15-great-artists-influenced-by-the-blue-singer-168972/ |url-status=live |magazine=[[Rolling Stone]] |archive-url=https://web.archive.org/web/20210120080719/https://www.rollingstone.com/music/music-lists/joni-mitchell-15-great-artists-influenced-by-the-blue-singer-168972/ |archive-date=January 20, 2021 |access-date=December 25, 2020 |url-access=limited}}</ref> Some journalists also found ''Blue''<nowiki/>'s influence on the cover artwork of ''Red'', which shows Swift looking downward with her face partially shadowed from her brimmed hat.<ref name="Pitchfork" /><ref name="Consequence-2021">{{Cite web |date=November 9, 2021 |editor-last=Siroky |editor-first=Mary |title=Every Taylor Swift Album Ranked from Worst to Best |url=https://consequence.net/2022/10/taylor-swift-albums-ranked-list/9/ |url-status=live |archive-url=https://web.archive.org/web/20220328011127/https://consequence.net/2021/11/taylor-swift-albums-ranked-list/ |archive-date=March 28, 2022 |access-date=November 10, 2021 |website=[[Consequence (publication)|Consequence]]}}</ref><ref>{{cite magazine |last=Cox |first=Jamieson |date=April 1, 2015 |title=This Is Why Joni Mitchell Is Your Favorite Musician's Favorite Musician |url=https://time.com/3767182/joni-mitchell-hospitalized-taylor-swift/ |url-access=limited |url-status=live |archive-url=https://web.archive.org/web/20200821042916/https://time.com/3767182/joni-mitchell-hospitalized-taylor-swift/ |archive-date=August 21, 2020 |access-date=December 25, 2020 |magazine=[[Time (magazine)|Time]]}}</ref>
-=== Lyrics and themes ===
-[[File:Joni Mitchell 1983.jpg|thumb|upright|left|[[Joni Mitchell]]'s ''[[Blue (Joni Mitchell album)|Blue]]'' (1971) inspired Swift's songwriting on ''Red''.|alt=Joni Mitchell, Canadian singer-songwriter]]
+''Red'' expands on Swift's common themes of love and heartbreak but explores them from a more complex perspective.<ref name="vulture" /><ref name="Atlantic" /><ref name="A.V. Club" /> [[Sam Lansky]] in [[Billboard (magazine)|''Billboard'']] wrote that the album depicts her negative emotions in extremes and how frustrating it can be to experience them,<ref name="samlansky">{{cite magazine |last=Lansky |first=Sam |author-link=Sam Lansky |date=November 8, 2017 |title=Why Taylor Swift's ''Red'' Is Her Best Album |url=https://www.billboard.com/articles/columns/pop/8030142/taylor-swift-red-best-album/ |url-status=live |archive-url=https://web.archive.org/web/20201126142545/https://www.billboard.com/articles/columns/pop/8030142/taylor-swift-red-best-album |archive-date=November 26, 2020 |access-date=December 27, 2020 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> while Emily Yoshida in [[Vulture (website)|''Vulture'']] thought that there are moments of vulnerability that "feel wise beyond the 22 years Swift was";<ref name=":1" /> in the words of Caramanica, "Almost everything here is corroded in some way."<ref name="The New York Times" /> Writing for [[NPR]], J. English described the album as Swift's [[coming of age]] and her early-20s exploration of womanhood and adulthood: the characters in the ''Red'' songs detail their first-hand experiences with sexuality and loss of innocence—topics that Swift had explored on her past albums from an outsider perspective;<ref name="npr" /> Caramanica found allusions to how "[Swift's] body is as alive as her mind" on songs like "State of Grace", "Treacherous", and "Stay Stay Stay".<ref name="The New York Times" /> In [[The Atlantic|''The Atlantic'']], Brad Nelson wrote that ''Red'' sees Swift no longer putting the blame solely on ex-lovers and instead viewing heartbreak with "ambiguity", and that her songcraft uses intricate details and narrative devices that evoke the styles of [[rock and roll]] musicians such as [[Steely Dan]], [[Bruce Springsteen]], and [[Leonard Cohen]].<ref name="Atlantic" />
-Although ''Red'' transcends Swift's country roots, her storytelling ability, nurtured by this country background, remains intact in her songwriting.<ref name="npr" /><ref name="spinpop">{{cite web|url=https://www.spin.com/2017/06/taylor-swift-red-essay/|title=Listen to Taylor Swift's ''Red'', One of the Best Pop Albums of Our Time|first=Jordan|last=Sargent|work=[[Spin (magazine)|Spin]]|date=June 16, 2017|access-date=December 25, 2020|archive-date=November 1, 2020|archive-url=https://web.archive.org/web/20201101062952/https://www.spin.com/2017/06/taylor-swift-red-essay/|url-status=live}}</ref> ''[[Pitchfork (website)|Pitchfork]]'''s Brad Nelson summed up the album's theme as disappearances, from lost romance and relationships to Swift's old country sound.<ref name="Pitchfork" /> For Nelson, this serves as the influence for the album cover, on which Swift is looking downward with her face partially shadowed from her brimmed hat.<ref name="Pitchfork" /> Reviewers observed the similarities between the cover of ''Red'' and that of the Canadian singer-songwriter [[Joni Mitchell]]'s 1971 album ''[[Blue (Joni Mitchell album)|Blue]]'',<ref name="Consequence-2021" /><ref name="Pitchfork" /><ref>{{cite magazine|url=https://time.com/3767182/joni-mitchell-hospitalized-taylor-swift/|title=This Is Why Joni Mitchell Is Your Favorite Musician's Favorite Musician|first=Jamieson|last=Cox|magazine=[[Time (magazine)|Time]]|url-access=limited|date=April 1, 2015|access-date=December 25, 2020|archive-date=August 21, 2020|archive-url=https://web.archive.org/web/20200821042916/https://time.com/3767182/joni-mitchell-hospitalized-taylor-swift/|url-status=live}}</ref> which inspired Swift's songwriting on ''Red''.<ref name="rsMitchell">{{cite magazine |date=June 22, 2016 |title=Joni Mitchell: 15 Great Artists Influenced by the ''Blue'' Singer |url=https://www.rollingstone.com/music/music-lists/joni-mitchell-15-great-artists-influenced-by-the-blue-singer-168972/ |url-status=live |magazine=[[Rolling Stone]] |archive-url=https://web.archive.org/web/20210120080719/https://www.rollingstone.com/music/music-lists/joni-mitchell-15-great-artists-influenced-by-the-blue-singer-168972/ |archive-date=January 20, 2021 |access-date=December 25, 2020 |url-access=limited}}</ref>
-Whereas Swift's previous songs contain fantasy-driven narratives with happy endings, ''Red'' realizes the uneasy reality of how a seemingly enduring relationship can painfully end.<ref name="Pitchfork" /> In the album's [[liner notes]], Swift quotes a line from [[Pablo Neruda]]'s poetry collection ''Tonight I Can Write (The Saddest Lines)'', "Love is so short, forgetting is so long", which she deems simultaneously relatable and simple, appropriate for the album's overarching theme.<ref>{{cite web|url=https://www.wsj.com/articles/BL-SEB-72304|title=The Platinum Poetry of Taylor Swift|first=Christopher John|last=Farley|website=[[The Wall Street Journal]]|url-access=subscription|date=October 31, 2012|access-date=November 22, 2021|archive-date=November 22, 2021|archive-url=https://web.archive.org/web/20211122100434/https://www.wsj.com/articles/BL-SEB-72304|url-status=live}}</ref><ref>{{cite web |date=November 2, 2012 |title=Taylor Swift: 'My Confidence Is Easy to Shake' |url=https://www.npr.org/2012/11/03/164186569/taylor-swift-my-confidence-is-easy-to-shake |url-status=live |archive-url=https://web.archive.org/web/20220428003156/https://www.npr.org/2012/11/03/164186569/taylor-swift-my-confidence-is-easy-to-shake |archive-date=April 28, 2022 |access-date=November 22, 2021 |website=[[NPR]]}}</ref> Critics observed a sign of maturity in Swift's perspectives and recognized additional themes—wide-eyed optimism, insecurity about one's perceived image, and the pressure of stardom.<ref name="npr" /><ref name="am" /> Hints of sex, absent from Swift's earlier music, are apparent on ''Red'', which coincided with her outgrowing of her public image as an innocent sweetheart.<ref name="npr" />{{NoteTag|The media had described Swift as "[[Honorific nicknames in popular music#T|America's Sweetheart]]" for her wholesome [[girl next door]] image. As she became a household name in popular music, her dating history with a series of well-known male celebrities became a subject of [[tabloid journalism|tabloid]] scrutiny and began to diminish that image.<ref name="The New York Times" />}}
-''[[The A.V. Club]]''<nowiki/>'s Michael Gallucci acknowledged the deeper observations of ''Red''<nowiki/>'s songs but did not appreciate their criticism of Swift's ex-lovers.<ref name="A.V. Club" /> NPR's J. English, meanwhile, noted the album portrays Swift at her most vulnerable and maturity for recognizing her [[coming of age]] in "plaintive, reflective tones".<ref name="npr" /> ''Billboard'' similarly noted the album's portrayal of maturity through vulnerability, saying "she most effectively lays bare her emotional life in all its messy complexity".<ref name="samlansky">{{cite magazine |last=Lansky |first=Sam |author-link=Sam Lansky |date=November 8, 2017 |title=Why Taylor Swift's ''Red'' Is Her Best Album |url=https://www.billboard.com/articles/columns/pop/8030142/taylor-swift-red-best-album/ |url-status=live |archive-url=https://web.archive.org/web/20201126142545/https://www.billboard.com/articles/columns/pop/8030142/taylor-swift-red-best-album |archive-date=November 26, 2020 |access-date=December 27, 2020 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> Most of the songs on ''Red'' were inspired by one ex-boyfriend who, according to Swift, contacted her after listening to the album and described the experience as "bittersweet".<ref name="vulture">{{cite web|url=https://www.vulture.com/2013/11/taylor-swift-reigning-queen-of-pop.html|title=Why Taylor Swift Is the Reigning Queen of Pop|date=November 25, 2013|work=[[Vulture (website)|Vulture]]|access-date=February 25, 2021|first=Jody|last=Rosen|url-access=limited|archive-date=November 19, 2013|archive-url=https://web.archive.org/web/20131119003714/https://www.vulture.com/2013/11/taylor-swift-reigning-queen-of-pop.html|url-status=live}}</ref>
 === Songs ===
+"State of Grace" is an arena-rock song that features chiming guitars and dynamic drums, and its lyrics are about the tumultuous feelings stemming from romantic beginnings.<ref name="Pitchfork" /><ref name="Spin">{{cite web |last=Hogan |first=Marc |author-link=Marc Hogan |date=October 16, 2012 |title=Taylor Swift Reaches 'State of Grace' on Feedback-Streaked Rock Anthem |url=https://www.spin.com/2012/10/taylor-swift-state-of-grace-listen/ |url-status=live |archive-url=https://web.archive.org/web/20151217033038/http://www.spin.com/2012/10/taylor-swift-state-of-grace-listen/ |archive-date=December 17, 2015 |access-date=October 19, 2012 |work=[[Spin (magazine)|Spin]]}}</ref> According to Perone, the lyric, "Love is a ruthless game, unless you play it good and right", sets the overall theme of an album about passionate romance gone wrong.{{Sfn|Perone|2017|p=44}} The title track explores an intense relationship that has failed,{{Sfn|Perone|2017|p=44}} relating the stages of love to colors: "losing him" is blue, "missing him" is a dark gray, and "loving him" is red.<ref>{{cite magazine|url=https://www.rollingstone.com/music/videos/taylor-swift-drops-twangy-title-track-for-red-20121002|title=Taylor Swift Describes Color of Heartache on {{'}}''Red''{{'}}|magazine=[[Rolling Stone]]|url-access=limited|date=October 2, 2012|access-date=October 2, 2012|archive-date=February 1, 2018|archive-url=https://web.archive.org/web/20180201075948/https://www.rollingstone.com/music/videos/taylor-swift-drops-twangy-title-track-for-red-20121002|url-status=live}}</ref> It is built on an acoustic arrangement consisting of string instruments of acoustic guitar, [[banjitar]], [[cello]], [[fiddle]], and [[bouzouki]], which display a country sound,{{Sfn|Perone|2017|p=44}} while also featuring electronic vocal manipulation and and elements of mainstream pop, [[soft rock]], and [[Adult contemporary music|adult contemporary]].<ref name="Spinred">{{cite web |last=Hogan |first=Marc |date=October 2, 2012 |title=Hear Taylor Swift's Maserati-Themed ''Red'' Title Track |url=https://www.spin.com/2012/10/taylor-swift-red-listen/ |url-status=live |archive-url=https://web.archive.org/web/20151026202725/http://www.spin.com/2012/10/taylor-swift-red-listen/ |archive-date=October 26, 2015 |access-date=October 2, 2012 |work=[[Spin (magazine)|Spin]]}}</ref> "Treacherous", which begins with slow guitar strumming and percussion and gradually builds up,<ref name="billboard" /><ref name="Pitchfork" /> is about attempting to protect a fragile relationship.<ref name="ToC" />{{Listen
- {{Listen
 | filename     = IKnewYouWereTrouble.ogg
 | title        = "I Knew You Were Trouble"
-| description  = "[[I Knew You Were Trouble]]" begins with a [[pop rock|pop-rock]] production before building into a [[dubstep]] [[refrain]] backed by aggressive [[synthesizers]].
+| description  = "[[I Knew You Were Trouble]]" incorporates [[dubstep]] and pulsing [[synthesizer]]s in its chorus, a style that critics deemed widely different from the music in Swift's previous songs.
-| filename2    = Taylor Swift - All Too Well sample.ogg
-| title2       = "All Too Well"
-| description2 = Regarded by critics as the album's emotional centerpiece, "[[All Too Well]]" vividly chronicles a broken relationship over a slow-burning production blending [[country music|country]], [[folk music|folk]], and [[arena rock]].
 }}
+"I Knew You Were Trouble" has a pop-rock production in its verses, and its refrain begins with a dubstep [[Drop (music)|drop]] and continues with aggressive synth backing and hip hop-influenced [[Syncopation|syncopated]] percussion.<ref name="Pitchfork" />{{Sfn|Perone|2017|p=44}} In the lyrics of "I Knew You Were Trouble", Swift's character blames herself for a toxic relationship that has ended.<ref name="The New York Times" /> Critics considered the song widely different from the music that Swift had explored on her past albums: Perone said that the track's dynamic shifts between the verses were "sudden and unexpected",{{Sfn|Perone|2017|p=45}} and Caramanica wrote that the dubstep drop was "a wrecking ball, changing the course not just of the song but also of Ms. Swift's career".<ref name="The New York Times" /> "All Too Well", considered by critics the emotional centerpiece of the album's narrative,<ref name="rs500" /> has a slow-building production containing of [[Overdubbing|overdubs]] of acoustic guitar, [[electric guitar]], bass, drums, and harmony vocals.{{Sfn|Perone|2017|p=46}} It chronicles a lost relationship from the peak of romance to the lingering memories after it has ended.<ref name="billboard" /><ref name="Slant" />
+"22" is about celebrating the joys of being youthful by going out and meeting new people to move on from heartbreak.<ref name="npr" /><ref name="spinpop" /> Its verses are driven by acoustic guitar, and its refrain incorporates a [[Dance music|dance]]-influenced arrangement consisting of electronic synths and hip hop-influenced bass drums.<ref name="The New York Times" />{{Sfn|Perone|2017|pp=46–47}} According to Perone, the arrangement of "I Almost Do" is derived from Swift's early country songs: its verses are formed on short melodic [[Motif (music)|motives]] and Swift's lower [[Register (music)|register]] vocals, while its refrain has a longer [[Range (music)|range]] in Swift's vocals. The song displays elements of country and folk via acoustic guitars and open string notes in the texture.{{Sfn|Perone|2017|p=47}} In "I Almost Do", Swift's character wonders what she would do if an ex-lover asked her to come back to him, and she admits she would likely agree to do so.{{Sfn|Perone|2017|p=47}} Her character in "We Are Never Ever Getting Back Together", meanwhile, promises an ex-lover that they will never rekindle their relationship.<ref name="billboard" /> Swift's vocals in the song are electronically processed,{{Sfn|Perone|2017|p=48}} and its production features an acoustic guitar arrangement alongside other stylistic embellishments including filtered guitar tones, synths, and hip hop-influenced bass drums.<ref name="am" />{{sfn|Perone|2017|p=48}} "Stay Stay Stay", a fast-tempo song combining styles of country and 1980s pop,{{Sfn|Perone|2017|p=48}} features [[toy piano]], [[ukulele]], [[mandolin]], and hand claps, and its lyrics are about two lovers trying to reconcile after a fight.<ref name="The New York Times" /><ref name="Slant" />
-''Red'' opens with "State of Grace", an arena-rock song featuring chiming guitars, dynamic drums, and lyrics about the tumultuous feelings that are evoked by the first sights of love.<ref name="Pitchfork" /><ref>{{cite magazine|last=Smith|first=Grady|title=Taylor Swift channels U2 on new track 'State of Grace': Hear it here|url=http://music-mix.ew.com/2012/10/16/taylor-swift-state-of-grace-new-song/|magazine=[[Entertainment Weekly]]|access-date=October 19, 2012|date=October 16, 2012|archive-date=July 1, 2014|archive-url=https://web.archive.org/web/20140701073421/http://music-mix.ew.com/2012/10/16/taylor-swift-state-of-grace-new-song/|url-status=live}}</ref> The title track, "Red", incorporates acoustic banjo, guitars, and electronic voice manipulation.<ref name="Spinred">{{cite web |last=Hogan |first=Marc |date=October 2, 2012 |title=Hear Taylor Swift's Maserati-Themed ''Red'' Title Track |url=https://www.spin.com/2012/10/taylor-swift-red-listen/ |url-status=live |archive-url=https://web.archive.org/web/20151026202725/http://www.spin.com/2012/10/taylor-swift-red-listen/ |archive-date=October 26, 2015 |access-date=October 2, 2012 |work=[[Spin (magazine)|Spin]]}}</ref> It combines [[soft rock]], country, and mainstream pop.<ref name="ToC" /><ref name="Spinred" /> Its refrain relates the stages of love to colors; "losing him" is blue, "missing him" is dark gray, and "loving him" is red.<ref>{{cite magazine|url=https://www.rollingstone.com/music/videos/taylor-swift-drops-twangy-title-track-for-red-20121002|title=Taylor Swift Describes Color of Heartache on {{'}}''Red''{{'}}|magazine=[[Rolling Stone]]|url-access=limited|date=October 2, 2012|access-date=October 2, 2012|archive-date=February 1, 2018|archive-url=https://web.archive.org/web/20180201075948/https://www.rollingstone.com/music/videos/taylor-swift-drops-twangy-title-track-for-red-20121002|url-status=live}}</ref> The third track, "Treacherous", begins with slow guitar strumming and percussion and gradually builds up,<ref name="billboard" /><ref name="Pitchfork" /> with lyrics about fighting to protect a dangerous relationship.<ref name="ToC" /> "I Knew You Were Trouble", which Swift said was a completely new style for her,<ref name="bbwoman" /> begins with a pop-rock production before building into a dubstep-tinged refrain with aggressive synthesizer backing.<ref name="billboard" /><ref name="Pitchfork" /><ref name="teleTrouble">{{cite news|url=https://www.telegraph.co.uk/music/what-to-listen-to/taylor-swift-best-songs/knew-trouble-taylor-swift/|title=I Knew You Were Trouble|work=[[The Daily Telegraph]]|date=August 3, 2017|access-date=December 26, 2020|url-access=subscription|archive-date=December 25, 2019|archive-url=https://web.archive.org/web/20191225055643/https://www.telegraph.co.uk/music/what-to-listen-to/taylor-swift-best-songs/knew-trouble-taylor-swift/|url-status=live}}</ref> Its narrator blames herself for a toxic relationship that has ended.<ref name="The New York Times" /> Critics considered the track Swift's most radical sonic change on ''Red'', with Perone viewing the [[Syncopation|syncopated]] bass drums as exemplary of her experimenting with hip hop,{{Sfn|Perone|2017|p=45}} and Caramanica saying the dubstep [[Drop (music)|drop]] was "a wrecking ball, changing the course not just of the song but also of Ms. Swift's career".<ref name="The New York Times" />
+"The Last Time", a duet with Lightbody, has a melancholic, [[Sentimental ballad|balladic]] production consisting of strings.{{sfn|Perone|2017|p=48}} Perone compared its production with the music of late-1970s and early-1980s rock bands but with a [[mute (music)|muted]] texture.{{sfn|Perone|2017|p=49}} Lightbody's and Swift's characters detail their perspectives on a failing long-term relationship in the first and second verses,{{sfn|Perone|2017|p=49}} and the refrain is backed by an [[orchestra]] playing intense strings and [[brass instruments|brass]].{{Sfn|Perone|2017|p=48}}<ref>{{cite web |last=Roberts |first=Randall |date=October 31, 2012 |title='The Last Time' Connects Taylor Swift with Arcade Fire |url=https://www.latimes.com/entertainment/music/la-xpm-2012-oct-31-la-et-ms-the-last-time-connects-taylor-swift-with-arcade-fire-20121031-story.html |url-access=limited |url-status=live |archive-url=https://web.archive.org/web/20160306070538/http://articles.latimes.com/2012/oct/31/entertainment/la-et-ms-the-last-time-connects-taylor-swift-with-arcade-fire-20121031 |archive-date=March 6, 2016 |access-date=December 27, 2020 |work=[[Los Angeles Times]]}}</ref> In "Holy Ground", Swift's character reminisces about an absent lover and the specific memories of their past.{{Sfn|Perone|2017|p=49}} It is a [[country rock]] and [[heartland rock]] track with persistent drums and a recurring guitar riff.<ref name="Slant" /><ref name="Atlantic">{{cite web |last=Nelson |first=Brad |date=November 1, 2012 |title=If You Listen Closely, Taylor Swift Is Kind of Like Leonard Cohen |url=https://www.theatlantic.com/entertainment/archive/2012/11/if-you-listen-closely-taylor-swift-is-kind-of-like-leonard-cohen/264275/ |url-access=limited |access-date=August 31, 2022 |website=[[The Atlantic]] |archive-date=February 25, 2021 |archive-url=https://web.archive.org/web/20210225063319/https://www.theatlantic.com/entertainment/archive/2012/11/if-you-listen-closely-taylor-swift-is-kind-of-like-leonard-cohen/264275/ |url-status=live }}</ref> Perone found the lyrical imagery of "Sad Beautiful Tragic" to extend the "lyrical impressionism" of Swift's songwriting by using various images without drawing a straightforward connection between them.{{Sfn|Perone|2017|p=50}} It has an intimate and melancholic sound<ref name="billboard" /><ref name="ToC" /> consisting of overdubs of acoustic instruments that evoke folk music.{{Sfn|Perone|2017|p=50}} "The Lucky One" incorporates a driving drum machine and has a soft-rock<ref name="npr" /> and 1960s pop-rock sound.{{Sfn|Perone|2017|p=50}} Written in [[third-person perspective]], the lyrics tell the story of a successful singer who looked "like a '60s queen" in her high-school days, was envied by her friends after achieving fame in "the angels' city",{{Sfn|Perone|2017|p=50}} and ultimately "chose the rose garden over [[Madison Square Garden|Madison Square]]".<ref name="billboard" /><ref name="Slant" />
-Critics regarded "All Too Well" as the album's emotional centerpiece.<ref name="rs500" /><ref name="Pitchfork" /><ref name="nmegreatest" /> It features a slow-burning production blending country, [[folk music|folk]], and arena rock, with [[Overdubbing|overdubs]] of acoustic guitar, electric guitar, bass, drums, and background vocals.{{Sfn|Perone|2017|p=46}} The lyrics chronicle a lost relationship from the peak of romance to the lingering memories after it has ended.<ref name="billboard" /><ref name="Slant" /> The imagery of a scarf left in a drawer became a symbol associated with the song; according to [[Rob Sheffield]] of ''Rolling Stone,'' "no other song does such a stellar job of showing off her ability to blow up a trivial little detail into a legendary heartache".<ref>{{cite magazine|url=https://www.rollingstone.com/music/music-lists/taylor-swift-songs-ranked-rob-sheffield-201800/all-too-well-2012-2-204850/|title=All Taylor Swift's Songs, Ranked|last=Sheffield|first=Rob|author-link=Rob Sheffield|url-access=limited|date=December 12, 2019|magazine=[[Rolling Stone]]|access-date=December 16, 2019|archive-date=October 15, 2020|archive-url=https://web.archive.org/web/20201015042803/https://www.rollingstone.com/music/music-lists/taylor-swift-songs-ranked-rob-sheffield-201800/all-too-well-2012-2-204850/|url-status=live}}</ref><ref name="newyorkbest">{{cite web|url=https://www.vulture.com/article/all-taylor-swift-songs-ranked-from-worst-to-best.html|title=All 162 Taylor Swift Songs, Ranked|date=August 13, 2020|first=Nate|last=Jones|work=[[Vulture (website)|Vulture]]|access-date=December 27, 2020|url-access=limited|archive-date=September 13, 2019|archive-url=https://web.archive.org/web/20190913234630/https://www.vulture.com/article/all-taylor-swift-songs-ranked-from-worst-to-best.html|url-status=live}}</ref> "All Too Well" is followed by "22", a pop song featuring pulsing synthesizers that recall 1980s pop.<ref name="The New York Times" /><ref name="EW" /> The lyrics of "22" celebrate the joys of being young and confident while acknowledging the uncertainty of adulthood, and the heartache the narrator and her friends endured in the past.<ref name="npr" /><ref name="spinpop" /> "I Almost Do" is a country-pop and soft-rock ballad featuring gentle guitar strums.<ref name="billboard" /><ref name="nmegreatest">{{cite web |last=Mylrea |first=Hannah |date=September 8, 2020 |title=Every Taylor Swift song ranked in order of greatness |url=https://www.nme.com/features/every-taylor-swift-song-ranked-2747916 |url-status=live |archive-url=https://web.archive.org/web/20210724154619/https://www.nme.com/en_asia/features/every-taylor-swift-song-ranked-2747916 |archive-date=July 24, 2021 |access-date=December 27, 2020 |work=[[NME]]}}</ref> In the song, a narrator struggles to decide if she should rekindle with a former lover.{{sfn|Spencer|2013|p=124}} It is followed by "We Are Never Ever Getting Back Together", in which the narrator promises her ex-lover they will never rekindle their broken relationship.<ref name="billboard" /> The song is a gleeful dance-pop tune with pulsing synthesizers, processed guitar sounds, and hip-hop-influenced bass drums.<ref name="am" />{{sfn|Perone|2017|p=48}}
-"Stay Stay Stay" is a fast-tempo song combining country with elements of 1980s pop.{{Sfn|Perone|2017|p=48}} It is instrumented with a [[toy piano]], ukulele, mandolin, and hand claps, and has lyrics about two lovers trying to reconcile after a fight.<ref name="The New York Times" /><ref name="Slant" /> "The Last Time", a duet with Gary Lightbody, has a melancholic production backed by [[string instrument]]s;{{sfn|Perone|2017|p=48}} Perone compared its production with the music of late-1970s and early-1980s rock bands but with a [[mute (music)|muted]] texture.{{sfn|Perone|2017|p=49}} Both Swift and Lightbody sing lead vocals; in the first verse, Lightbody sings about his character's perspective on a failing long-term relationship and in the second verse, Swift presents her character's view.{{sfn|Perone|2017|p=49}} The refrain is backed by strings and [[brass instruments|brass]], intensifying the emotional tension between the two.<ref>{{cite web|url=https://www.latimes.com/entertainment/music/la-xpm-2012-oct-31-la-et-ms-the-last-time-connects-taylor-swift-with-arcade-fire-20121031-story.html|title='The Last Time' connects Taylor Swift with Arcade Fire|first=Randall|last=Roberts|work=[[Los Angeles Times]]|url-access=limited|access-date=December 27, 2020|date=October 31, 2012|archive-date=March 6, 2016|archive-url=https://web.archive.org/web/20160306070538/http://articles.latimes.com/2012/oct/31/entertainment/la-et-ms-the-last-time-connects-taylor-swift-with-arcade-fire-20121031|url-status=live}}</ref> In "Holy Ground", a narrator reminisces about an absent lover and the fleeting moments of their past. It is a [[country rock]] and [[heartland rock]] track with persistent drums and a recurring guitar riff.<ref name="Slant" />{{sfn|Perone|2017|p=49}}<ref name="Atlantic">{{cite web |last=Nelson |first=Brad |date=November 1, 2012 |title=If You Listen Closely, Taylor Swift Is Kind of Like Leonard Cohen |url=https://www.theatlantic.com/entertainment/archive/2012/11/if-you-listen-closely-taylor-swift-is-kind-of-like-leonard-cohen/264275/ |url-access=limited |access-date=August 31, 2022 |website=[[The Atlantic]] |archive-date=February 25, 2021 |archive-url=https://web.archive.org/web/20210225063319/https://www.theatlantic.com/entertainment/archive/2012/11/if-you-listen-closely-taylor-swift-is-kind-of-like-leonard-cohen/264275/ |url-status=live }}</ref> The next track, "Sad Beautiful Tragic", is a melancholic, slow, folk-oriented waltz about a doomed love affair.<ref name="billboard" /><ref name="ToC" />
 {{Listen
 | filename     = BeginAgain.ogg
 | title        = "Begin Again"
-| description  = Musicologist James E. Perone commented that ''Red''{{'s}} ending on "[[Begin Again (Taylor Swift song)|Begin Again]]", a country song, confirms the importance of Swift's musical roots.
+| description  = ''Red''{{'s}} closing track, "[[Begin Again (Taylor Swift song)|Begin Again]]", is a [[country music|country]] [[sentimental ballad|ballad]]. The [[musicologist]] James E. Perone commented that this solidified country as an important aspect of Swift's artistry.
 }}
+"Everything Has Changed", a duet with Sheeran, is a mid-tempo acoustic guitar-led ballad<ref name="billboard" /> that incorporates deep bass drums.{{Sfn|Perone|2017|p=51}} Perone commented that the song's arrangement is similar to the music from Swift's debut album, using "a high degree of syncopation" at the [[sixteenth note]] level. In the song, Swift and Sheeran sing about the beginnings of a new romance, alternating their lead vocals in the verses.{{Sfn|Perone|2017|p=51}} Swift was inspired to write "Starlight" by the romance between [[Ethel Kennedy|Ethel]] and [[Robert F. Kennedy]].<ref>{{Cite news |last=Farley |first=Christopher John |date=October 18, 2012 |title=Taylor Swift's Kennedy Inspiration |url=https://www.wsj.com/articles/SB10000872396390444734804578064780996484860 |url-access=subscription |access-date=August 23, 2024 |work=[[The Wall Street Journal]]}}</ref> In the lyrics, Swift's character reminisces about meeting her lover one evening in the "summer of '45" and how they intruded a "yacht club party" and danced "like [they] were made of starlight".<ref name="Rolling Stone" />{{Sfn|Perone|2017|p=51}} Containing an electric guitar [[Solo (music)|solo]],{{Sfn|Perone|2017|p=51}} "Starlight" is a dance-pop song<ref name="Slant" /> that Perone deemed "vaguely contemporary country pop in nature".{{Sfn|Perone|2017|p=51}} In the closing track of the standard edition, "Begin Again", Swift's character explores how a newfound love interest differs from her ex-lovers, giving her hopes of a new romance.{{Sfn|Perone|2017|p=52}} According to Perone, that the genre-spanning ''Red'' concludes with a country ballad confirms country music as an integral part of Swift's musical identity.{{sfn|Perone|2017|p=52}}
+The deluxe edition of ''Red'' includes the extra original songs "The Moment I Knew", "Come Back&nbsp;... Be Here", and "Girl at Home"; original demo recordings of "Treacherous" and "Red"; and an acoustic version of "State of Grace".{{sfn|Spencer|2013|p=a8}} "The Moment I Knew" is a somber piano ballad, and its lyrics are about a woman celebrating her birthday party without her boyfriend, signaling a failing relationship.<ref>{{Cite magazine |last=Sheffield |first=Rob |author-link=Rob Sheffield |date=2022-10-26 |title='The Moment I Knew' (2012) |url=https://www.rollingstone.com/music/music-lists/taylor-swift-songs-ranked-rob-sheffield-201800/the-moment-i-knew-2012-194950/ |access-date=2022-12-14 |magazine=[[Rolling Stone]]}}</ref> The 2000s-adult-contemporary-oriented "Come Back... Be Here" has lyrics about a long-distance relationship with few chances to endure.<ref>{{Cite news |last=Song |first=Jane |date=2020-02-05 |title=All 158 Taylor Swift Songs, Ranked |url=https://www.pastemagazine.com/music/taylor-swift/best-taylor-swift-songs/ |access-date=2022-12-14 |website=[[Paste (magazine)|Paste]] |archive-date=April 13, 2020 |archive-url=https://web.archive.org/web/20200413001443/https://www.pastemagazine.com/music/taylor-swift/best-taylor-swift-songs/ |url-status=live }}</ref> "Girl at Home", a song combining country with 1980s music elements,<ref name="nmegreatest">{{cite web |last=Mylrea |first=Hannah |date=September 8, 2020 |title=Every Taylor Swift Song Ranked In Order of Greatness |url=https://www.nme.com/features/every-taylor-swift-song-ranked-2747916 |url-status=live |archive-url=https://web.archive.org/web/20210724154619/https://www.nme.com/en_asia/features/every-taylor-swift-song-ranked-2747916 |archive-date=July 24, 2021 |access-date=December 27, 2020 |work=[[NME]]}}</ref><ref>{{Cite web |last=Jones |first=Nate |date=2022-10-06 |title=All 193 Taylor Swift Songs, Ranked |url=https://www.vulture.com/article/all-taylor-swift-songs-ranked-from-worst-to-best.html |url-access=limited |access-date=2022-12-14 |website=[[Vulture (website)|Vulture]] |archive-date=September 13, 2019 |archive-url=https://web.archive.org/web/20190913234630/https://www.vulture.com/article/all-taylor-swift-songs-ranked-from-worst-to-best.html |url-status=live }}</ref> details a woman's contempt for a flirtatious man who is in a relationship with another woman.{{sfn|Spencer|2013|p=a8}}
-The soft-rock "The Lucky One" is a cautionary tale about the perils of celebrity.<ref name="npr" /><ref name="latimes" /> Narrated from a [[third-person perspective]], it references the story of a successful singer who "chose the rose garden over [[Madison Square Garden|Madison Square]]".<ref name="billboard" /><ref name="Slant" /> "Everything Has Changed" featuring Ed Sheeran is a stripped-back guitar ballad about a blossoming new romance,<ref name="billboard" /><ref>{{cite web|url=https://www.nme.com/reviews/reviews-taylor-swift-14589-325732|title=Taylor Swift Feat. Ed Sheeran&nbsp;– 'Everything Has Changed'|work=[[NME]]|first=Sian|last=Rowe|date=July 12, 2013|access-date=December 12, 2020|archive-date=September 28, 2016|archive-url=https://web.archive.org/web/20160928083317/http://www.nme.com/reviews/taylor-swift/14589|url-status=live}}</ref> and "Starlight" is an uptempo, dance-pop song about [[Robert F. Kennedy|Robert F.]] and [[Ethel Kennedy]]'s relationship.<ref name="billboard" /><ref name="Rolling Stone" /><ref name="Slant" /> The standard edition's final track, "Begin Again", is a gentle country song expressing a narrator's vulnerability post-breakup and willingness to start over.<ref name="billboard" /><ref name="nmegreatest" /> Perone noted ''Red'', after exploring other genres, concludes with a country song, confirming the importance of Swift's musical roots.{{sfn|Perone|2017|p=52}}
-The deluxe edition of ''Red'' includes the extra original songs "The Moment I Knew", "Come Back&nbsp;... Be Here", and "Girl at Home"; original demo recordings of "Treacherous" and "Red", and an acoustic version of "State of Grace".{{sfn|Spencer|2013|p=a8}} "The Moment I Knew" is a somber piano ballad and narrates a story of a woman's birthday party from which, despite a Christmas theme and good friends, her boyfriend is absent, signaling a failing relationship.<ref>{{Cite magazine |last=Sheffield |first=Rob |author-link=Rob Sheffield |date=2022-10-26 |title='The Moment I Knew' (2012) |url=https://www.rollingstone.com/music/music-lists/taylor-swift-songs-ranked-rob-sheffield-201800/the-moment-i-knew-2012-194950/ |access-date=2022-12-14 |magazine=[[Rolling Stone]]}}</ref> The 2000s-[[Adult contemporary music|adult-contemporary]]-oriented "Come Back... Be Here" has lyrics about a long-distance relationship with few chances to endure.<ref>{{Cite news |last=Song |first=Jane |date=2020-02-05 |title=All 158 Taylor Swift Songs, Ranked |url=https://www.pastemagazine.com/music/taylor-swift/best-taylor-swift-songs/ |access-date=2022-12-14 |website=[[Paste (magazine)|Paste]] |archive-date=April 13, 2020 |archive-url=https://web.archive.org/web/20200413001443/https://www.pastemagazine.com/music/taylor-swift/best-taylor-swift-songs/ |url-status=live }}</ref> "Girl at Home", a song combining country with 1980s music elements,<ref name="nmegreatest" /><ref>{{Cite web |last=Jones |first=Nate |date=2022-10-06 |title=All 193 Taylor Swift Songs, Ranked |url=https://www.vulture.com/article/all-taylor-swift-songs-ranked-from-worst-to-best.html |url-access=limited |access-date=2022-12-14 |website=[[Vulture (website)|Vulture]] |archive-date=September 13, 2019 |archive-url=https://web.archive.org/web/20190913234630/https://www.vulture.com/article/all-taylor-swift-songs-ranked-from-worst-to-best.html |url-status=live }}</ref> is about a woman's feelings when her boyfriend is out and flirting with other women.{{sfn|Spencer|2013|p=a8}}
 == Release and promotion ==
@@ Line 125: / Line 115: @@
 [[File:Taylor Swift GMA (8114363291).jpg|thumb|left|Swift promoting ''Red'' on ''[[Good Morning America]]'', October 22, 2012|alt=Taylor Swift at a GMA event]]
-Swift and Big Machine implemented an extensive marketing plan for ''Red''.<ref name="lamarketing">{{cite web |last=Lewis |first=Randy |date=October 30, 2012 |title=Taylor Swift raises the bar with a savvy ''Red'' marketing campaign |url=https://www.latimes.com/entertainment/music/la-xpm-2012-oct-30-la-et-ms-taylor-swift-20121031-story.html |url-access=limited |url-status=live |archive-url=https://web.archive.org/web/20201228034534/https://www.latimes.com/entertainment/music/la-xpm-2012-oct-30-la-et-ms-taylor-swift-20121031-story.html |archive-date=December 28, 2020 |access-date=December 28, 2020 |work=[[Los Angeles Times]]}}</ref> On August 13, 2012, Swift announced the album's details through a live [[webchat]] via [[Google Hangouts]],<ref name="Live EW" />{{sfn|Lamb|Hair|McDaniel|2014|p=334}} and released the lead single, "We Are Never Ever Getting Back Together", which was her first number-one song on the US [[Billboard Hot 100|''Billboard'' Hot 100]].<ref name="Live EW">{{cite magazine |last=Smith |first=Grady |date=August 14, 2012 |title=Taylor Swift releases single 'We Are Never Ever Getting Back Together', announces new album ''Red'' |url=http://music-mix.ew.com/2012/08/14/taylor-swift-we-are-never-ever-getting-back-together-red/ |url-status=live |magazine=[[Entertainment Weekly]] |archive-url=https://web.archive.org/web/20120817051607/http://music-mix.ew.com/2012/08/14/taylor-swift-we-are-never-ever-getting-back-together-red/ |archive-date=August 17, 2012 |access-date=August 14, 2012}}</ref><ref name="bb_we">{{Cite magazine|url=http://www.billboard.com/articles/news/475154/taylor-swifts-never-is-hot-100s-longest-leading-country-song-since-1980|magazine=[[Billboard (magazine)|Billboard]]|title=Taylor Swift's 'Never' Is Hot 100's Longest-Leading Country Song Since 1980|first=Gary|last=Trust|date=September 12, 2012|access-date=September 12, 2012|archive-date=October 21, 2020|archive-url=https://web.archive.org/web/20201021023415/https://www.billboard.com/articles/news/475154/taylor-swifts-never-is-hot-100s-longest-leading-country-song-since-1980|url-status=live}}</ref> An alternative version of "We Are Never Ever Getting Back Together" was released to US country radio;<ref name="rosen">{{cite web|url=https://slate.com/culture/2012/08/taylor-swifts-we-are-never-ever-getting-back-together-is-no-1-on-the-pop-charts-is-swift-breaking-up-with-nashville.html|title=Top of the Pops: Taylor Swift, 'We Are Never Ever Getting Back Together'|first=Jody|last=Rosen|author-link=Jody Rosen|work=[[Slate (magazine)|Slate]]|date=August 30, 2012|access-date=December 28, 2020|archive-date=December 22, 2020|archive-url=https://web.archive.org/web/20201222130157/https://slate.com/culture/2012/08/taylor-swifts-we-are-never-ever-getting-back-together-is-no-1-on-the-pop-charts-is-swift-breaking-up-with-nashville.html|url-status=live}}</ref> it spent ten weeks atop [[Hot Country Songs]].<ref>{{cite magazine|url=https://www.billboard.com/articles/business/chart-beat/9552192/taylor-swift-you-all-over-me-hot-country-songs-chart/|title=Taylor Swift Scores 25th Hot Country Songs Top 10 With 'You All Over Me'|first=Jim|last=Asker|date=April 6, 2021|magazine=[[Billboard (magazine)|Billboard]]|access-date=July 26, 2021|archive-date=April 16, 2021|archive-url=https://web.archive.org/web/20210416214139/https://www.billboard.com/articles/business/chart-beat/9552192/taylor-swift-you-all-over-me-hot-country-songs-chart/|url-status=live}}</ref> On September 22, Swift announced on ''[[Good Morning America]]'' a four-week song release countdown from September 24 until the album's release week.<ref name="Red GMA">{{cite web|url=https://abcnews.go.com/blogs/headlines/2012/09/good-morning-america-exclusive-taylor-swift-launches-red-album-release-with-4-week-song-preview-countdown-exclusively-on-abcs-good-morning-america/|title=Taylor Swift Launches ''Red'' Album Release With 4-Week Song Preview Countdown|date=September 21, 2013|access-date=February 18, 2013|work=[[American Broadcasting Company]]|archive-date=November 23, 2012|archive-url=https://web.archive.org/web/20121123233722/http://abcnews.go.com/blogs/headlines/2012/09/good-morning-america-exclusive-taylor-swift-launches-red-album-release-with-4-week-song-preview-countdown-exclusively-on-abcs-good-morning-america/|url-status=live}}</ref> The four songs—"Begin Again",<ref>{{cite magazine|url=https://www.billboard.com/articles/news/474935/taylor-swift-wants-to-begin-again-on-new-single-listen|title=Taylor Swift Wants to 'Begin Again' on New Single: Listen|first=Sarah|last=Maloy|magazine=[[Billboard (magazine)|Billboard]]|date=September 25, 2012|access-date=September 30, 2012|archive-date=March 17, 2013|archive-url=https://web.archive.org/web/20130317055602/http://www.billboard.com/articles/news/474935/taylor-swift-wants-to-begin-again-on-new-single-listen|url-status=live}}</ref> "Red",<ref>{{cite magazine |last=Smith |first=Grady |url=http://music-mix.ew.com/2012/10/02/taylor-swift-red/ |title=Taylor Swift explains her personal rainbow of emotions on {{'}}''Red''{{'}} |magazine=[[Entertainment Weekly]] |date=October 2, 2012 |access-date=October 2, 2012 |archive-date=November 12, 2014 |archive-url=https://web.archive.org/web/20141112183346/http://music-mix.ew.com/2012/10/02/taylor-swift-red/ |url-status=live }}</ref> "I Knew You Were Trouble",<ref>{{cite magazine|url=https://www.billboard.com/music/music-news/taylor-swift-debuts-i-knew-you-were-trouble-song-listen-474743/|title=Taylor Swift Debuts 'I Knew You Were Trouble' Song: Listen|magazine=[[Billboard (magazine)|Billboard]]|first=Sarah|last=Maloy|date=October 9, 2012|access-date=October 10, 2012|archive-date=April 28, 2022|archive-url=https://web.archive.org/web/20220428104922/https://www.billboard.com/music/music-news/taylor-swift-debuts-i-knew-you-were-trouble-song-listen-474743/|url-status=live}}</ref> and "State of Grace"<ref>{{cite web|last=Brown|first=August|title=Taylor Swift releases 'State of Grace' single|url=http://www.latimes.com/entertainment/music/posts/la-et-ms-taylor-swift-releases-state-of-grace-20121016,0,4301656.story|work=[[Los Angeles Times]]|url-access=limited|access-date=October 19, 2012|date=October 16, 2012|archive-date=October 23, 2012|archive-url=https://web.archive.org/web/20121023161026/http://www.latimes.com/entertainment/music/posts/la-et-ms-taylor-swift-releases-state-of-grace-20121016,0,4301656.story|url-status=live}}</ref>—were released for digital download onto the [[iTunes Store]]. "Begin Again", which peaked at number seven on the US ''Billboard'' Hot 100, was later released as a single to US country radio on October 1, 2012.<ref>{{cite journal|url=https://www.countryaircheck.com/pdf_publication/Issue_334%20-%20February%2025,%202013.pdf|title=Country Aircheck Weekly|journal=Country Aircheck|issue=334|page=3|location=Nashville|date=February 25, 2013|access-date=December 28, 2020|archive-date=December 28, 2020|archive-url=https://web.archive.org/web/20201228161538/https://www.countryaircheck.com/pdf_publication/Issue_334%20-%20February%2025,%202013.pdf|url-status=live}}</ref><ref>{{cite magazine |url=http://www.billboard.com/articles/news/474810/psy-cant-beat-maroon-5-in-close-race-for-hot-100s-top-spot |title=PSY Can't Beat Maroon 5 In Close Race For Hot 100's Top Spot |magazine=[[Billboard (magazine)|Billboard]] |date=October 3, 2012 |access-date=October 3, 2012 |archive-date=February 24, 2017 |archive-url=https://web.archive.org/web/20170224023928/http://www.billboard.com/articles/news/474810/psy-cant-beat-maroon-5-in-close-race-for-hot-100s-top-spot |url-status=live}}</ref>
+On August 13, 2012, via a live [[webchat]] held on [[Google Hangouts]],{{sfn|Lamb|Hair|McDaniel|2014|p=334}} Swift announced the album's details and released the lead single, "We Are Never Ever Getting Back Together",<ref name="Live EW">{{cite magazine |last=Smith |first=Grady |date=August 14, 2012 |title=Taylor Swift Releases Single 'We Are Never Ever Getting Back Together', Announces New Album ''Red'' |url=http://music-mix.ew.com/2012/08/14/taylor-swift-we-are-never-ever-getting-back-together-red/ |archive-url=https://web.archive.org/web/20120817051607/http://music-mix.ew.com/2012/08/14/taylor-swift-we-are-never-ever-getting-back-together-red/ |archive-date=August 17, 2012 |access-date=August 14, 2012 |magazine=[[Entertainment Weekly]]}}</ref> which was her first number-one song on the US [[Billboard Hot 100|''Billboard'' Hot 100]].<ref name="bb_we">{{Cite magazine|url=http://www.billboard.com/articles/news/475154/taylor-swifts-never-is-hot-100s-longest-leading-country-song-since-1980|magazine=[[Billboard (magazine)|Billboard]]|title=Taylor Swift's 'Never' Is Hot 100's Longest-Leading Country Song Since 1980|first=Gary|last=Trust|date=September 12, 2012|access-date=September 12, 2012|archive-date=October 21, 2020|archive-url=https://web.archive.org/web/20201021023415/https://www.billboard.com/articles/news/475154/taylor-swifts-never-is-hot-100s-longest-leading-country-song-since-1980|url-status=live}}</ref> An alternative version of "We Are Never Ever Getting Back Together" was released to US country radio;<ref name="rosen">{{cite web|url=https://slate.com/culture/2012/08/taylor-swifts-we-are-never-ever-getting-back-together-is-no-1-on-the-pop-charts-is-swift-breaking-up-with-nashville.html|title=Top of the Pops: Taylor Swift, 'We Are Never Ever Getting Back Together'|first=Jody|last=Rosen|author-link=Jody Rosen|work=[[Slate (magazine)|Slate]]|date=August 30, 2012|access-date=December 28, 2020|archive-date=December 22, 2020|archive-url=https://web.archive.org/web/20201222130157/https://slate.com/culture/2012/08/taylor-swifts-we-are-never-ever-getting-back-together-is-no-1-on-the-pop-charts-is-swift-breaking-up-with-nashville.html|url-status=live}}</ref> it spent 10 weeks atop [[Hot Country Songs]].<ref>{{cite magazine|url=https://www.billboard.com/articles/business/chart-beat/9552192/taylor-swift-you-all-over-me-hot-country-songs-chart/|title=Taylor Swift Scores 25th Hot Country Songs Top 10 With 'You All Over Me'|first=Jim|last=Asker|date=April 6, 2021|magazine=[[Billboard (magazine)|Billboard]]|access-date=July 26, 2021|archive-date=April 16, 2021|archive-url=https://web.archive.org/web/20210416214139/https://www.billboard.com/articles/business/chart-beat/9552192/taylor-swift-you-all-over-me-hot-country-songs-chart/|url-status=live}}</ref> Both the standard and deluxe versions of ''Red'' were released on October 22, 2012.<ref name="lamarketing" /> In the United States, the standard edition was available in digital and physical formats, and the deluxe edition containing six extra tracks was available exclusively for physical purchase at [[Target Corporation|Target]].<ref name="lamarketing" />
-Both the standard and deluxe versions of ''Red'' were released on October 22, 2012.<ref name="lamarketing" /> In the United States, the standard edition was available in digital and physical formats, and the deluxe edition containing six extra tracks was available exclusively for physical purchase at [[Target Corporation|Target]].<ref name="lamarketing" /> Swift had tie-ins with corporations including [[Keds]], [[Walmart]], and [[Papa John's]].<ref name="lamarketing" /> A day after the release, she began a cycle of television appearances, starting with a live performance on ''Good Morning America,'' which was followed by pre-recorded television appearances on such talk shows as [[The Ellen DeGeneres Show]] and ''[[20/20 (American TV program)|20/20]]''.<ref name="lamarketing" /> She gave interviews to as many as 72 radio stations, mostly in the United States and some international outlets from South Africa, New Zealand, Spain, Germany, and Mexico.<ref name="lamarketing" /> Her live performances at awards shows included the [[2012 MTV Video Music Awards|MTV Video Music Awards]],<ref>{{cite magazine|url=http://www.billboard.com/articles/news/475234/taylor-swift-performs-never-ever-at-the-2012-mtv-vmas|title=Taylor Swift Performs 'Never Ever' at the 2012 MTV VMAs|date=September 2, 2012|access-date=November 2, 2017|last=Maloy|first=Sarah|magazine=[[Billboard (magazine)|Billboard]]|url-status=live|archive-url=https://web.archive.org/web/20151128052216/http://www.billboard.com/articles/news/475234/taylor-swift-performs-never-ever-at-the-2012-mtv-vmas|archive-date=November 28, 2015}}</ref> the [[2012 Country Music Association Awards|Country Music Association Awards]],<ref>{{cite web|url=http://www.umusic.ca/press-releases/taylor-swifts-red-debuts-at-1/|title=Taylor Swift's ''Red'' Debuts at #1|publisher=[[Universal Music Canada]]|date=October 31, 2012|access-date=October 31, 2012|archive-date=March 22, 2018|archive-url=https://web.archive.org/web/20180322222819/http://www.umusic.ca/press-releases/taylor-swifts-red-debuts-at-1/|url-status=live}}</ref> and the [[American Music Awards of 2012|American Music Awards]].<ref>{{cite magazine|url=http://www.billboard.com/articles/news/474090/amas-2012-top-5-best-performances|title=AMAs 2012: Top 5 Best Performances|date=November 19, 2012|access-date=November 2, 2017|last=JaLipshutz|first=Jason|magazine=[[Billboard (magazine)|Billboard]]|url-status=live|archive-url=https://web.archive.org/web/20161230224536/http://www.billboard.com/articles/news/474090/amas-2012-top-5-best-performances|archive-date=December 30, 2016}}</ref>
+Swift and Big Machine implemented an extensive marketing plan for ''Red''.<ref name="lamarketing">{{cite web |last=Lewis |first=Randy |date=October 30, 2012 |title=Taylor Swift Raises the Bar with a Savvy ''Red'' Marketing Campaign |url=https://www.latimes.com/entertainment/music/la-xpm-2012-oct-30-la-et-ms-taylor-swift-20121031-story.html |url-access=limited |url-status=live |archive-url=https://web.archive.org/web/20201228034534/https://www.latimes.com/entertainment/music/la-xpm-2012-oct-30-la-et-ms-taylor-swift-20121031-story.html |archive-date=December 28, 2020 |access-date=December 28, 2020 |work=[[Los Angeles Times]]}}</ref> To increase sales, Swift had tie-ins with corporations including [[Starbucks]], [[Keds]], [[Walmart]], [[Walgreens]], and [[Papa John's]].<ref name="lamarketing" /><ref name="first" /> A day after the release, she began a cycle of television appearances, which included ''Good Morning America'' (October 23), [[Late Show with David Letterman|''Late Show with David Letterman'']] (October 23), [[The View (talk show)|''The View'']] (October 24), [[The Ellen DeGeneres Show|''The Ellen DeGeneres Show'']] (October 25), [[Katie (talk show)|''Katie'']] (October 26), and ''[[20/20 (American TV program)|20/20]]'' (October 26).<ref name="first" /> She gave interviews to as many as 72 radio stations, mostly in the United States and some from South Africa, New Zealand, Spain, Germany, and Mexico.<ref name="lamarketing" /> Her live performances at awards shows included the [[2012 MTV Video Music Awards|MTV Video Music Awards]],<ref>{{cite magazine|url=http://www.billboard.com/articles/news/475234/taylor-swift-performs-never-ever-at-the-2012-mtv-vmas|title=Taylor Swift Performs 'Never Ever' at the 2012 MTV VMAs|date=September 2, 2012|access-date=November 2, 2017|last=Maloy|first=Sarah|magazine=[[Billboard (magazine)|Billboard]]|url-status=live|archive-url=https://web.archive.org/web/20151128052216/http://www.billboard.com/articles/news/475234/taylor-swift-performs-never-ever-at-the-2012-mtv-vmas|archive-date=November 28, 2015}}</ref> the [[2012 Country Music Association Awards|Country Music Association Awards]],<ref>{{cite web|url=http://www.umusic.ca/press-releases/taylor-swifts-red-debuts-at-1/|title=Taylor Swift's ''Red'' Debuts at #1|publisher=[[Universal Music Canada]]|date=October 31, 2012|access-date=October 31, 2012|archive-date=March 22, 2018|archive-url=https://web.archive.org/web/20180322222819/http://www.umusic.ca/press-releases/taylor-swifts-red-debuts-at-1/|url-status=live}}</ref> and the [[American Music Awards of 2012|American Music Awards]].<ref>{{cite magazine|url=http://www.billboard.com/articles/news/474090/amas-2012-top-5-best-performances|title=AMAs 2012: Top 5 Best Performances|date=November 19, 2012|access-date=November 2, 2017|last=JaLipshutz|first=Jason|magazine=[[Billboard (magazine)|Billboard]]|url-status=live|archive-url=https://web.archive.org/web/20161230224536/http://www.billboard.com/articles/news/474090/amas-2012-top-5-best-performances|archive-date=December 30, 2016}}</ref>
-''Red'' was further promoted with a string of singles. "I Knew You Were Trouble" was released as an official single to pop radio on November 27, 2012;<ref>{{cite web|url=http://www.allaccess.com/top40-mainstream/future-releases |title=Top 40/Mainstream > Future Releases |access-date=December 5, 2012 |publisher=All Access |archive-url=https://web.archive.org/web/20130121224853/http://www.allaccess.com/top40-mainstream/future-releases |archive-date=January 21, 2013 |url-status=dead }}</ref> it was a big [[Hit song|hit]] on pop radio, peaking for seven weeks atop [[Mainstream Top 40]].<ref name="bbwoman">{{cite magazine |last=Light |first=Alan |date=December 5, 2014 |title=''Billboard'' Woman of the Year Taylor Swift on Writing Her Own Rules, Not Becoming a Cliche and the Hurdle of Going Pop |url=https://www.billboard.com/articles/events/women-in-music-2014/6363514/billboard-woman-of-the-year-taylor-swift-on-writing-her |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20141226012450/https://www.billboard.com/articles/events/women-in-music-2014/6363514/billboard-woman-of-the-year-taylor-swift-on-writing-her |archive-date=December 26, 2014 |access-date=December 27, 2020}}</ref> The single peaked at number two on the ''Billboard'' Hot 100,<ref>{{cite magazine|url=http://www.billboard.com/articles/news/1549388/baauers-harlem-shake-debuts-atop-revamped-hot-100|title=Baauer's 'Harlem Shake' Debuts Atop Revamped Hot 100|last=Trust|first=Gary|date=February 20, 2013|access-date=February 24, 2013|archive-date=February 21, 2013|archive-url=https://web.archive.org/web/20130221115231/http://www.billboard.com/articles/news/1549388/baauers-harlem-shake-debuts-atop-revamped-hot-100|magazine=[[Billboard (magazine)|Billboard]]|url-status=live}}</ref> and was a top-ten hit in Australasia and Europe.<ref>{{cite web|url=https://australian-charts.com/showitem.asp?interpret=Taylor+Swift&titel=I+Knew+You+Were+Trouble&cat=s|title=Taylor Swift&nbsp;– I Knew You Were Trouble|publisher=australian-charts.com|access-date=December 28, 2020|archive-date=May 27, 2016|archive-url=https://web.archive.org/web/20160527061100/http://www.australian-charts.com/showitem.asp?interpret=Taylor+Swift&titel=I+Knew+You+Were+Trouble&cat=s|url-status=live}}</ref> "22" was released to pop radio in March 2013<ref>{{cite web|url=http://www.allaccess.com/top40-mainstream/future-releases |title=Top 40/M Future Releases |publisher=All Access |archive-url=https://web.archive.org/web/20130121224853/http://www.allaccess.com/top40-mainstream/future-releases |archive-date=January 21, 2013 |access-date=February 21, 2013 |url-status=dead}}</ref> and "Red" was released to country radio in June 2013.<ref>{{cite web|url=http://gfa.radioandrecords.com/publishGFA/GFANextPage.asp?sDate=06/24/2013&Format=4 |title=Going For Adds :: Country |work=[[Radio & Records]] |access-date=July 4, 2013 |url-status=dead |archive-url=https://web.archive.org/web/20131015090709/http://gfa.radioandrecords.com/publishGFA/GFANextPage.asp?sDate=06%2F24%2F2013&Format=4 |archive-date=October 15, 2013}}</ref> The singles peaked at number 20 and number six on the ''Billboard'' Hot 100, respectively.<ref>{{cite magazine|url=https://www.billboard.com/artist/taylor-swift/chart-history/hsi/|title=Taylor Swift Chart History|magazine=[[Billboard (magazine)|Billboard]]|access-date=December 29, 2020|archive-date=November 8, 2017|archive-url=https://web.archive.org/web/20171108210219/http://www.billboard.com/music/taylor-swift/chart-history/hot-100|url-status=live}}</ref> Tracks "Everything Has Changed"<ref>{{cite web |last=Vena |first=Jocelyn |url=http://www.mtv.com/news/articles/1706558/taylor-swift-ed-sheeran-duet-everything-has-changed.jhtml |title=Taylor Swift's Ed Sheeran Duet Will Be Her Next U.K. ''Red'' Single|work=[[MTV]]|date=April 30, 2013 |access-date=July 4, 2013 |archive-date=October 14, 2013 |archive-url=https://web.archive.org/web/20131014115950/http://www.mtv.com/news/articles/1706558/taylor-swift-ed-sheeran-duet-everything-has-changed.jhtml |url-status=dead }}</ref> and "The Last Time" were also released as singles, with the latter having a UK-exclusive release.<ref>{{cite web |url=http://www.officialcharts.com/chart-news/this-weeks-new-releases-04-11-2013-2586/ |title=This week's new releases 04-11-2013 |publisher=[[Official Charts Company]] |date=November 4, 2013 |access-date=July 1, 2014 |last=Lane| first= Daniel |archive-date=March 25, 2014 |archive-url=https://archive.today/20140325125231/http://www.officialcharts.com/chart-news/this-weeks-new-releases-04-11-2013-2586/ |url-status=live }}</ref> Despite ''Red''<nowiki/>'s promotion as a country album, its diverse musical styles sparked a media debate over Swift's status as a country artist.<ref name="rosen" />{{sfn|Perone|2017|p=2}} ''Spin'' argued ''Red'' is difficult to categorize because country music is "the most dynamically vibrant pop genre of the last decade or so".<ref name="spin" /> Other critics commented Swift had always been more pop-oriented than country and described ''Red'' as her inevitable move to mainstream pop.{{sfn|McNutt|2020|p=78}} In an interview with the ''[[Wall Street Journal]]'', Swift responded country music "feels like home" and dismissed the debate, saying "I leave the genre labeling to other people".{{sfn|McNutt|2020|p=78}}
+''Red'' was promoted with further singles. From September 24 until the album's release date, Swift previewed one album track each week via ''[[Good Morning America]]'' as part of a four-week countdown<ref name="Red GMA">{{cite web |last=Bernstein |first=Alyssa |date=September 21, 2013 |title=Taylor Swift Launches ''Red'' Album Release With 4-Week Song Preview Countdown |url=https://abcnews.go.com/blogs/headlines/2012/09/good-morning-america-exclusive-taylor-swift-launches-red-album-release-with-4-week-song-preview-countdown-exclusively-on-abcs-good-morning-america/ |url-status=live |archive-url=https://web.archive.org/web/20121123233722/http://abcnews.go.com/blogs/headlines/2012/09/good-morning-america-exclusive-taylor-swift-launches-red-album-release-with-4-week-song-preview-countdown-exclusively-on-abcs-good-morning-america/ |archive-date=November 23, 2012 |access-date=February 18, 2013 |publisher=[[American Broadcasting Company]]}}</ref>—"Begin Again", "Red", "I Knew You Were Trouble", and "State of Grace";<ref>{{Cite news |last=Montgomery |first=James |date=October 16, 2012 |title=Taylor Swift's 'State of Grace' Goes Straight to #1 on iTunes |url=http://www.mtv.com/news/1695625/taylor-swift-state-of-grace-red-album/ |url-status=dead |archive-url=https://web.archive.org/web/20201115173210/http://www.mtv.com/news/1695625/taylor-swift-state-of-grace-red-album/ |archive-date=November 15, 2020 |access-date=November 15, 2020 |publisher=[[MTV]]}}</ref> the first three songs were later released as singles. "Begin Again", released to US country radio on October 1, 2012,<ref>{{cite journal |date=February 25, 2013 |title=Country Aircheck Weekly |url=https://www.countryaircheck.com/pdf_publication/Issue_334%20-%20February%2025,%202013.pdf |url-status=dead |journal=Country Aircheck |location=Nashville |issue=334 |page=3 |archive-url=https://web.archive.org/web/20201228161538/https://www.countryaircheck.com/pdf_publication/Issue_334%20-%20February%2025,%202013.pdf |archive-date=December 28, 2020 |access-date=December 28, 2020}}</ref> peaked at number seven on the ''Billboard'' Hot 100 and number three on [[Country Airplay]].<ref>{{cite magazine |title=Taylor Swift Chart History |url=https://www.billboard.com/artist/taylor-swift/chart-history/hsi/ |url-status=live |archive-url=https://web.archive.org/web/20171108210219/http://www.billboard.com/music/taylor-swift/chart-history/hot-100 |archive-date=November 8, 2017 |access-date=December 29, 2020 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> Released to US pop radio on November 27, 2012,<ref>{{cite web|url=http://www.allaccess.com/top40-mainstream/future-releases |title=Top 40/Mainstream > Future Releases |access-date=December 5, 2012 |publisher=All Access |archive-url=https://web.archive.org/web/20130121224853/http://www.allaccess.com/top40-mainstream/future-releases |archive-date=January 21, 2013 |url-status=dead }}</ref> "I Knew You Were Trouble" spent seven weeks at number one on [[Pop Songs]]<ref name="bbwoman">{{cite magazine |last=Light |first=Alan |author-link=Alan Light |date=December 5, 2014 |title=''Billboard'' Woman of the Year Taylor Swift on Writing Her Own Rules, Not Becoming a Cliche and the Hurdle of Going Pop |url=https://www.billboard.com/articles/events/women-in-music-2014/6363514/billboard-woman-of-the-year-taylor-swift-on-writing-her |url-status=live |archive-url=https://web.archive.org/web/20141226012450/https://www.billboard.com/articles/events/women-in-music-2014/6363514/billboard-woman-of-the-year-taylor-swift-on-writing-her |archive-date=December 26, 2014 |access-date=December 27, 2020 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> and peaked at number two on the ''Billboard'' Hot 100<ref>{{cite magazine|url=http://www.billboard.com/articles/news/1549388/baauers-harlem-shake-debuts-atop-revamped-hot-100|title=Baauer's 'Harlem Shake' Debuts Atop Revamped Hot 100|last=Trust|first=Gary|date=February 20, 2013|access-date=February 24, 2013|archive-date=February 21, 2013|archive-url=https://web.archive.org/web/20130221115231/http://www.billboard.com/articles/news/1549388/baauers-harlem-shake-debuts-atop-revamped-hot-100|magazine=[[Billboard (magazine)|Billboard]]|url-status=live}}</ref> and in the top 10 on charts of Australasian and European countries.<ref>{{cite web|url=https://australian-charts.com/showitem.asp?interpret=Taylor+Swift&titel=I+Knew+You+Were+Trouble&cat=s|title=Taylor Swift&nbsp;– I Knew You Were Trouble|publisher=australian-charts.com|access-date=December 28, 2020|archive-date=May 27, 2016|archive-url=https://web.archive.org/web/20160527061100/http://www.australian-charts.com/showitem.asp?interpret=Taylor+Swift&titel=I+Knew+You+Were+Trouble&cat=s|url-status=live}}</ref> "Red" was released to US country radio on June 24, 2013.<ref>{{cite web |title=Going For Adds :: Country |url=http://gfa.radioandrecords.com/publishGFA/GFANextPage.asp?sDate=06/24/2013&Format=4 |url-status=dead |archive-url=https://web.archive.org/web/20131015090709/http://gfa.radioandrecords.com/publishGFA/GFANextPage.asp?sDate=06%2F24%2F2013&Format=4 |archive-date=October 15, 2013 |access-date=July 4, 2013 |work=[[Radio & Records]]}}</ref> Other singles were "22",<ref>{{cite web|url=http://www.allaccess.com/top40-mainstream/future-releases |title=Top 40/M Future Releases |publisher=All Access |archive-url=https://web.archive.org/web/20130121224853/http://www.allaccess.com/top40-mainstream/future-releases |archive-date=January 21, 2013 |access-date=February 21, 2013 |url-status=dead}}</ref> "Everything Has Changed",<ref>{{cite web |last=Vena |first=Jocelyn |date=April 30, 2013 |title=Taylor Swift's Ed Sheeran Duet Will Be Her Next U.K. ''Red'' Single |url=http://www.mtv.com/news/articles/1706558/taylor-swift-ed-sheeran-duet-everything-has-changed.jhtml |url-status=dead |archive-url=https://web.archive.org/web/20131014115950/http://www.mtv.com/news/articles/1706558/taylor-swift-ed-sheeran-duet-everything-has-changed.jhtml |archive-date=October 14, 2013 |access-date=July 4, 2013 |publisher=[[MTV]]}}</ref> and "The Last Time".<ref>{{cite web |last=Lane |first=Daniel |date=November 4, 2013 |title=This Week's New Releases 04-11-2013 |url=http://www.officialcharts.com/chart-news/this-weeks-new-releases-04-11-2013-2586/ |url-status=live |archive-url=https://archive.today/20140325125231/http://www.officialcharts.com/chart-news/this-weeks-new-releases-04-11-2013-2586/ |archive-date=March 25, 2014 |access-date=July 1, 2014 |publisher=[[Official Charts Company]]}}</ref>
+Despite ''Red''<nowiki/>'s promotion as a country album, its diverse musical styles sparked a media debate over Swift's status as a country artist.<ref name="rosen" />{{sfn|Perone|2017|p=2}} ''Spin'' argued ''Red'' was difficult to categorize because country music was "the most dynamically vibrant pop genre of the last decade or so".<ref name="spin" /> Other critics commented Swift had always been more pop-oriented than country and described ''Red'' as her inevitable move to mainstream pop.{{sfn|McNutt|2020|p=78}} In an interview with [[The Wall Street Journal|''The Wall Street Journal'']], Swift responded that country music "feels like home" and dismissed the debate: "I leave the genre labeling to other people."{{sfn|McNutt|2020|p=78}}
-=== Touring ===
-{{Main|The Red Tour}}
+=== Touring ===
 [[File:Taylor Swift 2013 RED tour (8588016225).jpg|thumb|Swift on [[the Red Tour]] in 2013|alt=Taylor Swift singing on the Red Tour]]
-Swift announced the album's accompanying world tour, [[the Red Tour]], shortly after the album's release.<ref name="tourbb">{{cite magazine|url=https://www.billboard.com/articles/news/474199/taylor-swift-to-outdo-herself-on-red-tour-i-like-for-it-to-be-big|title=Taylor Swift to Outdo Herself on {{'}}''Red''{{'}} Tour: 'I Like for It to Be Big'|magazine=[[Billboard (magazine)|Billboard]]|first=Gary|last=Trust|date=November 13, 2012|access-date=November 14, 2012|archive-date=February 13, 2013|archive-url=https://web.archive.org/web/20130213024143/http://www.billboard.com/articles/news/474199/taylor-swift-to-outdo-herself-on-red-tour-i-like-for-it-to-be-big|url-status=live}}</ref> On October 26, 2012, she announced the first 58 dates for the North American leg, beginning in [[Omaha, Nebraska]], visiting Canada and the United States throughout the spring and summer of 2013, and concluding in [[Nashville, Tennessee]], in September.<ref>{{cite magazine|magazine=[[Billboard (magazine)|Billboard]]|archive-url=https://web.archive.org/web/20130212163215/http://www.billboard.com/articles/news/474440/taylor-swift-tour-to-paint-the-road-red|url=http://www.billboard.com/articles/news/474440/taylor-swift-tour-to-paint-the-road-red|title=Taylor Swift Tour to Paint the Road {{'}}''Red''{{'}}|date=October 27, 2012|archive-date=February 12, 2013|access-date=February 12, 2013|url-status=dead}}</ref> To support a high demand, Swift held the concerts mostly in sports arenas and stadiums.<ref name="tourbb" /> After the North American leg, the Red Tour visited Australasia,<ref>{{cite magazine|url=https://www.billboard.com/articles/news/1560847/taylor-swifts-red-tour-to-play-stadiums-in-australia|title=Taylor Swift's Red Tour To Play Stadiums in Australia|first=Lars|last=Brandle|magazine=[[Billboard (magazine)|Billboard]]|date=May 9, 2013|access-date=December 9, 2013|archive-date=February 22, 2014|archive-url=https://web.archive.org/web/20140222061620/http://www.billboard.com/articles/news/1560847/taylor-swifts-red-tour-to-play-stadiums-in-australia|url-status=live}}</ref> the United Kingdom,<ref>{{cite web|url=https://www.theguardian.com/music/2014/feb/02/taylor-swift-red-tour-london-o2-review|title=Taylor Swift's Red tour – review|first=Rebecca|last=Nicholson|work=[[The Guardian]]|date=February 2, 2014|access-date=December 2, 2014|archive-date=January 3, 2015|archive-url=https://web.archive.org/web/20150103085932/http://www.theguardian.com/music/2014/feb/02/taylor-swift-red-tour-london-o2-review|url-status=live}}</ref> and Asia.<ref name="nmetour">{{cite web|url=https://www.nme.com/news/music/taylor-swift-204-1236231|title=Taylor Swift breaks China ticket sales record on 'Red' tour|first=Andy|last=Welch|work=[[NME]]|date=April 6, 2014|access-date=December 6, 2014|archive-date=February 17, 2019|archive-url=https://web.archive.org/web/20190217142910/https://www.nme.com/news/music/taylor-swift-204-1236231|url-status=live}}</ref>
+Swift announced the album's accompanying world tour, [[the Red Tour]], shortly after the album's release.<ref name="tourbb">{{cite magazine|url=https://www.billboard.com/articles/news/474199/taylor-swift-to-outdo-herself-on-red-tour-i-like-for-it-to-be-big|title=Taylor Swift to Outdo Herself on {{'}}''Red''{{'}} Tour: 'I Like for It to Be Big'|magazine=[[Billboard (magazine)|Billboard]]|first=Gary|last=Trust|date=November 13, 2012|access-date=November 14, 2012|archive-date=February 13, 2013|archive-url=https://web.archive.org/web/20130213024143/http://www.billboard.com/articles/news/474199/taylor-swift-to-outdo-herself-on-red-tour-i-like-for-it-to-be-big|url-status=live}}</ref> On October 26, 2012, she announced the first 58 dates for the North American leg, beginning in [[Omaha, Nebraska]], visiting Canada and the United States throughout the spring and summer of 2013, and concluding in [[Nashville, Tennessee]], in September.<ref>{{cite magazine|magazine=[[Billboard (magazine)|Billboard]]|archive-url=https://web.archive.org/web/20130212163215/http://www.billboard.com/articles/news/474440/taylor-swift-tour-to-paint-the-road-red|url=http://www.billboard.com/articles/news/474440/taylor-swift-tour-to-paint-the-road-red|title=Taylor Swift Tour to Paint the Road {{'}}''Red''{{'}}|date=October 27, 2012|archive-date=February 12, 2013|access-date=February 12, 2013|url-status=dead}}</ref> To support a high demand, Swift held the concerts mostly in sports arenas and stadiums.<ref name="tourbb" /> After the North American leg, the Red Tour visited Australasia,<ref>{{cite magazine|url=https://www.billboard.com/articles/news/1560847/taylor-swifts-red-tour-to-play-stadiums-in-australia|title=Taylor Swift's Red Tour To Play Stadiums in Australia|first=Lars|last=Brandle|magazine=[[Billboard (magazine)|Billboard]]|date=May 9, 2013|access-date=December 9, 2013|archive-date=February 22, 2014|archive-url=https://web.archive.org/web/20140222061620/http://www.billboard.com/articles/news/1560847/taylor-swifts-red-tour-to-play-stadiums-in-australia|url-status=live}}</ref> the United Kingdom,<ref>{{cite web |last=Nicholson |first=Rebecca |date=February 2, 2014 |title=Taylor Swift's Red Tour – Review |url=https://www.theguardian.com/music/2014/feb/02/taylor-swift-red-tour-london-o2-review |url-status=live |archive-url=https://web.archive.org/web/20150103085932/http://www.theguardian.com/music/2014/feb/02/taylor-swift-red-tour-london-o2-review |archive-date=January 3, 2015 |access-date=December 2, 2014 |work=[[The Guardian]]}}</ref> and Asia.<ref name="nmetour">{{cite web |last=Welch |first=Andy |date=April 6, 2014 |title=Taylor Swift Breaks China Ticket Sales Record on 'Red' Tour |url=https://www.nme.com/news/music/taylor-swift-204-1236231 |url-status=live |archive-url=https://web.archive.org/web/20190217142910/https://www.nme.com/news/music/taylor-swift-204-1236231 |archive-date=February 17, 2019 |access-date=December 6, 2014 |work=[[NME]]}}</ref>
-The Red Tour was a box office success. The four shows at [[Staples Center]] in Los Angeles extended Swift's total of sold-out shows to 11, making her the solo artist with the most sold-out shows at Staples Center.<ref>{{cite web|url=https://www.latimes.com/entertainment/music/la-xpm-2013-aug-19-la-et-ms-taylor-swift-red-tour-staples-record-sellout-20130819-story.html|title=Taylor Swift ties record for most sold-out shows at Staples Center|first=Randy|last=Lewis|work=[[Los Angeles Times]]|url-access=limited|date=August 19, 2013|access-date=December 19, 2013|archive-date=February 24, 2022|archive-url=https://web.archive.org/web/20220224142946/https://www.latimes.com/entertainment/music/la-xpm-2013-aug-19-la-et-ms-taylor-swift-red-tour-staples-record-sellout-20130819-story.html|url-status=live}}</ref> She was the first female artist to sell out the [[Sydney Football Stadium (1988)|Sydney Football Stadium]] since its opening in 1988.<ref>{{cite web|url=http://abcnewsradioonline.com/music-news/2013/12/5/taylor-swift-is-first-woman-to-sell-out-allianz-stadium-in-s.html|title=Taylor Swift Is First Female Artist In History To Sell Out Sydney's Allianz Stadium|date=December 5, 2013|publisher=[[ABC NewsRadio]]|access-date=December 5, 2013|archive-date=July 24, 2021|archive-url=https://web.archive.org/web/20210724154656/http://abcnewsradioonline.com/music-news/2013/12/5/taylor-swift-is-first-woman-to-sell-out-allianz-stadium-in-s.html|url-status=live}}</ref> Tickets for the [[Shanghai]] show sold out within 60 seconds, setting the Chinese record for the fastest sellout.<ref name="nmetour" /> When it ended in June 2014, the tour had grossed $150.2&nbsp;million and became the highest-grossing tour by a country artist of all time.<ref>{{cite magazine|first=Bob|last=Allen|url=http://www.billboard.com/articles/news/6150193/taylor-swift-red-all-time-country-tour|title=Taylor Swift's ''Red'' Wraps as All-Time Country Tour|magazine=[[Billboard (magazine)|Billboard]]|date=July 3, 2014|archive-url=https://web.archive.org/web/20150601003002/http://www.billboard.com/articles/news/6150193/taylor-swift-red-all-time-country-tour|archive-date=June 1, 2015|access-date=June 1, 2015}}</ref>
+The Red Tour was a box office success. The four shows at [[Staples Center]] in Los Angeles extended Swift's total of sold-out shows to 11, making her the solo artist with the most sold-out shows at Staples Center.<ref>{{cite web |last=Lewis |first=Randy |date=August 19, 2013 |title=Taylor Swift Ties Record for Most Sold-Out Shows at Staples Center |url=https://www.latimes.com/entertainment/music/la-xpm-2013-aug-19-la-et-ms-taylor-swift-red-tour-staples-record-sellout-20130819-story.html |url-access=limited |url-status=live |archive-url=https://web.archive.org/web/20220224142946/https://www.latimes.com/entertainment/music/la-xpm-2013-aug-19-la-et-ms-taylor-swift-red-tour-staples-record-sellout-20130819-story.html |archive-date=February 24, 2022 |access-date=December 19, 2013 |work=[[Los Angeles Times]]}}</ref> She was the first female artist to sell out the [[Sydney Football Stadium (1988)|Sydney Football Stadium]] since its opening in 1988.<ref>{{cite web|url=http://abcnewsradioonline.com/music-news/2013/12/5/taylor-swift-is-first-woman-to-sell-out-allianz-stadium-in-s.html|title=Taylor Swift Is First Female Artist In History To Sell Out Sydney's Allianz Stadium|date=December 5, 2013|publisher=[[ABC NewsRadio]]|access-date=December 5, 2013|archive-date=July 24, 2021|archive-url=https://web.archive.org/web/20210724154656/http://abcnewsradioonline.com/music-news/2013/12/5/taylor-swift-is-first-woman-to-sell-out-allianz-stadium-in-s.html|url-status=live}}</ref> Tickets for the [[Shanghai]] show sold out within 60 seconds, setting the Chinese record for the fastest sellout.<ref name="nmetour" /> When it ended in June 2014, the tour had grossed $150.2&nbsp;million and became the highest-grossing tour by a country artist of all time.<ref>{{cite magazine|first=Bob|last=Allen|url=http://www.billboard.com/articles/news/6150193/taylor-swift-red-all-time-country-tour|title=Taylor Swift's ''Red'' Wraps as All-Time Country Tour|magazine=[[Billboard (magazine)|Billboard]]|date=July 3, 2014|archive-url=https://web.archive.org/web/20150601003002/http://www.billboard.com/articles/news/6150193/taylor-swift-red-all-time-country-tour|archive-date=June 1, 2015|access-date=June 1, 2015}}</ref>
 == Commercial performance ==
-In the United States, ''Red'' debuted at number one on the [[Billboard 200|''Billboard'' 200]] with first-week sales of 1.208&nbsp;million copies, surpassing [[Garth Brooks]]'s ''[[Double Live (Garth Brooks album)|Double Live]]''  (1998) as the fastest-selling country album.<ref>{{cite magazine |last=Caulfield |first=Keith |date=September 14, 2009 |title=One Direction's 'Take Me Home' Debuts at No. 1 With Year's Third-Biggest Opening |url=http://www.billboard.com/articles/news/474059/one-directions-take-me-home-debuts-at-no-1-with-years-third-biggest-opening |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20130222025117/http://www.billboard.com/articles/news/474059/one-directions-take-me-home-debuts-at-no-1-with-years-third-biggest-opening |archive-date=February 22, 2013 |access-date=December 27, 2012}}</ref><ref name="first">{{cite magazine |last=Caulfield |first=Keith |date=October 30, 2012 |title=Taylor Swift's {{'}}''Red''{{'}} Sells 1.21 Million; Biggest Sales Week for an Album Since 2002 |url=http://www.billboard.com/articles/news/474400/taylor-swifts-red-sells-121-million-biggest-sales-week-for-an-album-since-2002 |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20170611223525/http://www.billboard.com/articles/news/474400/taylor-swifts-red-sells-121-million-biggest-sales-week-for-an-album-since-2002 |archive-date=June 11, 2017 |access-date=October 31, 2012}}</ref> With ''Speak Now'' and ''Red'', Swift was recognized in the ''Guinness World Records'' as the "First Solo Female with Two Million-Selling Weeks on the U.S. Albums Chart".<ref>{{cite magazine |last=Greenwald |first=David |date=September 6, 2013 |title=Taylor Swift, Rihanna, Justin Bieber Among 2014 Guinness Record-Setters |url=https://www.billboard.com/articles/news/5687212/taylor-swift-rihanna-justin-bieber-among-2014-guinness-record-setters |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20150608001415/http://www.billboard.com/articles/news/5687212/taylor-swift-rihanna-justin-bieber-among-2014-guinness-record-setters |archive-date=June 8, 2015 |access-date=September 7, 2013}}</ref> ''Red'' spent seven non-consecutive weeks at number one on the ''Billboard'' 200,<ref>{{cite magazine |last=Caulfield |first=Keith |date=January 3, 2013 |title=Taylor Swift's 'Red,' 'Les Mis' Soundtrack Lead Billboard 200 Chart |url=http://www.billboard.com/articles/news/1481616/taylor-swifts-red-les-mis-soundtrack-lead-billboard-200-chart |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20150925051123/http://www.billboard.com/articles/news/1481616/taylor-swifts-red-les-mis-soundtrack-lead-billboard-200-chart |archive-date=September 25, 2015 |access-date=January 3, 2013}}</ref> and made Swift the first female artist, and the second after [[the Beatles]], to have three consecutive studio albums each spend six or more weeks atop the chart.{{NoteTag|Swift's previous studio albums ''Fearless'' and ''Speak Now'' respectively spent 11 weeks in 2008–09 and six weeks in 2010–11.<ref>{{cite magazine |url=http://www.billboard.com/articles/news/1481312/bruno-mars-debuts-at-no-2-as-taylor-swifts-red-still-rules |title=Bruno Mars Debuts at No. 2 as Taylor Swift's {{'}}''Red''{{'}} Still Rules |magazine=[[Billboard (magazine)|Billboard]] |access-date=December 27, 2012 |archive-date=November 30, 2015 |archive-url=https://web.archive.org/web/20151130100447/http://www.billboard.com/articles/news/1481312/bruno-mars-debuts-at-no-2-as-taylor-swifts-red-still-rules |url-status=live |first=Keith|last=Caulfield| date=December 19, 2012}}</ref>}} It was the third consecutive time—after ''Fearless'' (2008) and ''Speak Now'' (2010)—that Swift had a number-one album during the last week before Christmas, traditionally the most competitive week of the year.<ref>{{cite web |last=Grein |first=Paul |date=December 27, 2012 |title=Week Ending Dec. 23, 2012. Albums: Swift Is First Since The Beatles |url=http://music.yahoo.com/blogs/chart-watch/week-ending-dec-23-2012-albums-swift-first-155717349.html |url-status=live |archive-url=https://web.archive.org/web/20141030045222/https://music.yahoo.com/blogs/chart-watch/week-ending-dec-23-2012-albums-swift-first-155717349.html |archive-date=October 30, 2014 |access-date=April 12, 2013 |publisher=[[Yahoo! Music]]}}</ref> On ''Billboard''{{'s}} [[Top Country Albums]] chart, it spent 16 weeks at number one, and was the year-end number-one album of both 2012 and 2013.<ref>{{cite magazine |last=Caulfield |first=Keith |date=November 21, 2021 |title=Taylor Swift Scores 10th No. 1 Album on Billboard 200 Chart With ''Red (Taylor's Version)'' |url=https://www.billboard.com/music/chart-beat/taylor-swift-tenth-number-one-album-billboard-200-red-taylors-version-1235000860/ |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20211123123924/https://www.billboard.com/music/chart-beat/taylor-swift-tenth-number-one-album-billboard-200-red-taylors-version-1235000860/ |archive-date=November 23, 2021 |access-date=November 25, 2021}}</ref> Surpassing 3.11&nbsp;million copies after two months of sales, ''Red'' was the second-highest-selling album of 2012.<ref>{{cite magazine |last=Caulfield |first=Keith |date=January 2, 2012 |title=Adele's '21' 2012's Best Selling Album; Gotye Has Top Song |url=http://www.billboard.com/articles/news/1481614/adeles-21-2012s-best-selling-album-gotye-has-top-song |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20140221054724/http://www.billboard.com/articles/news/1481614/adeles-21-2012s-best-selling-album-gotye-has-top-song |archive-date=February 21, 2014 |access-date=April 12, 2013}}</ref> As of January 2024, its US sales stood at 4.582&nbsp;million copies.<ref name="US2024sales" /> The [[Recording Industry Association of America]] certified the album [[RIAA certification|seven-times platinum]] for surpassing seven million [[Album-equivalent unit|album-equivalent units]].<ref name="riaa" />
+In the United States, ''Red'' debuted at number one on the [[Billboard 200|''Billboard'' 200]] with first-week sales of 1.208&nbsp;million copies, surpassing [[Garth Brooks]]'s ''[[Double Live (Garth Brooks album)|Double Live]]'' (1998) as the fastest-selling country album.<ref name="first">{{cite magazine |last=Caulfield |first=Keith |date=October 30, 2012 |title=Taylor Swift's ''Red'' Sells 1.21 Million; Biggest Sales Week for an Album Since 2002 |url=http://www.billboard.com/articles/news/474400/taylor-swifts-red-sells-121-million-biggest-sales-week-for-an-album-since-2002 |url-status=live |archive-url=https://web.archive.org/web/20170611223525/http://www.billboard.com/articles/news/474400/taylor-swifts-red-sells-121-million-biggest-sales-week-for-an-album-since-2002 |archive-date=June 11, 2017 |access-date=October 31, 2012 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> With ''Speak Now'' and ''Red'', Swift was recognized in the ''Guinness World Records'' as the "First Solo Female with Two Million-Selling Weeks on the U.S. Albums Chart".<ref>{{cite magazine |last=Greenwald |first=David |date=September 6, 2013 |title=Taylor Swift, Rihanna, Justin Bieber Among 2014 Guinness Record-Setters |url=https://www.billboard.com/articles/news/5687212/taylor-swift-rihanna-justin-bieber-among-2014-guinness-record-setters |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20150608001415/http://www.billboard.com/articles/news/5687212/taylor-swift-rihanna-justin-bieber-among-2014-guinness-record-setters |archive-date=June 8, 2015 |access-date=September 7, 2013}}</ref> ''Red'' spent seven non-consecutive weeks at number one on the ''Billboard'' 200,<ref>{{cite magazine |last=Caulfield |first=Keith |date=January 3, 2013 |title=Taylor Swift's ''Red'', ''Les Mis'' Soundtrack Lead Billboard 200 Chart |url=http://www.billboard.com/articles/news/1481616/taylor-swifts-red-les-mis-soundtrack-lead-billboard-200-chart |url-status=live |archive-url=https://web.archive.org/web/20150925051123/http://www.billboard.com/articles/news/1481616/taylor-swifts-red-les-mis-soundtrack-lead-billboard-200-chart |archive-date=September 25, 2015 |access-date=January 3, 2013 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> and made Swift the first female artist, and the second after [[the Beatles]], to have three consecutive studio albums each spend six or more weeks atop the chart.{{NoteTag|Swift's previous studio albums ''Fearless'' and ''Speak Now'' respectively spent 11 weeks in 2008–09 and six weeks in 2010–11.<ref>{{cite magazine |url=http://www.billboard.com/articles/news/1481312/bruno-mars-debuts-at-no-2-as-taylor-swifts-red-still-rules |title=Bruno Mars Debuts at No. 2 as Taylor Swift's {{'}}''Red''{{'}} Still Rules |magazine=[[Billboard (magazine)|Billboard]] |access-date=December 27, 2012 |archive-date=November 30, 2015 |archive-url=https://web.archive.org/web/20151130100447/http://www.billboard.com/articles/news/1481312/bruno-mars-debuts-at-no-2-as-taylor-swifts-red-still-rules |url-status=live |first=Keith|last=Caulfield| date=December 19, 2012}}</ref>}} It was the third consecutive time—after ''Fearless'' (2008) and ''Speak Now'' (2010)—that Swift had a number-one album during the last week before Christmas, which is traditionally the most competitive week of the year.<ref>{{cite web |last=Grein |first=Paul |date=December 27, 2012 |title=Week Ending Dec. 23, 2012. Albums: Swift Is First Since The Beatles |url=http://music.yahoo.com/blogs/chart-watch/week-ending-dec-23-2012-albums-swift-first-155717349.html |url-status=live |archive-url=https://web.archive.org/web/20141030045222/https://music.yahoo.com/blogs/chart-watch/week-ending-dec-23-2012-albums-swift-first-155717349.html |archive-date=October 30, 2014 |access-date=April 12, 2013 |publisher=[[Yahoo! Music]]}}</ref> On ''Billboard''{{'s}} [[Top Country Albums]] chart, it was at number one for 16 weeks and was the year-end number-one album of both 2012 and 2013.<ref>{{cite magazine |last=Caulfield |first=Keith |date=November 21, 2021 |title=Taylor Swift Scores 10th No. 1 Album on Billboard 200 Chart With ''Red (Taylor's Version)'' |url=https://www.billboard.com/music/chart-beat/taylor-swift-tenth-number-one-album-billboard-200-red-taylors-version-1235000860/ |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20211123123924/https://www.billboard.com/music/chart-beat/taylor-swift-tenth-number-one-album-billboard-200-red-taylors-version-1235000860/ |archive-date=November 23, 2021 |access-date=November 25, 2021}}</ref> Surpassing 3.11&nbsp;million copies after two months of sales, ''Red'' was the second-highest-selling album of 2012.<ref>{{cite magazine |last=Caulfield |first=Keith |date=January 2, 2012 |title=Adele's ''21'' 2012's Best Selling Album; Gotye Has Top Song |url=http://www.billboard.com/articles/news/1481614/adeles-21-2012s-best-selling-album-gotye-has-top-song |url-status=live |archive-url=https://web.archive.org/web/20140221054724/http://www.billboard.com/articles/news/1481614/adeles-21-2012s-best-selling-album-gotye-has-top-song |archive-date=February 21, 2014 |access-date=April 12, 2013 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> As of January 2024, its US sales stood at 4.582&nbsp;million copies.<ref name="US2024sales" /> The [[Recording Industry Association of America]] certified the album [[RIAA certification|seven-times platinum]] for surpassing seven million [[Album-equivalent unit|album-equivalent units]].<ref name="riaa" />
-The album reached number one on the record charts of European and Oceanic countries, including Australia,<ref name="ariacharts" /> Canada,<ref name="CAN" /> New Zealand,<ref name="newzealand" /> Ireland,<ref name="ireland" /> and Scotland.<ref name="Scotland" /> It received [[music recording certification|multi-platinum certifications]] in Australia (4× Platinum),<ref name="ARIA-cert" /> Canada (4× Platinum),<ref name="cancert" /> and New Zealand (2× Platinum).<ref name="rmnz" /> In the United Kingdom, ''Red'' was Swift's first number one on the [[UK Albums Chart|Albums Chart]] and had four top-ten songs on the [[UK Singles Chart|Singles Chart]], the most of Swift's albums;<ref>{{cite magazine |last=Sexton |first=Paul |date=October 29, 2012 |title=Taylor Swift Has {{'}}''Red''{{'}} Hot Debut in U.K. |url=http://www.billboard.com/articles/news/474434/taylor-swift-has-red-hot-debut-in-uk |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20170224023843/http://www.billboard.com/articles/news/474434/taylor-swift-has-red-hot-debut-in-uk |archive-date=February 24, 2017 |access-date=October 30, 2012}}</ref> it was certified 2× Platinum by the [[British Phonographic Industry]] (BPI) and sold 619,000&nbsp;copies {{As of|June 2021|alt=as of June 2021}}.<ref name="Legacy">{{cite web |author=George Griffiths |date=June 21, 2021 |title=The Biggest Hits and Chart Legacy of Taylor Swift's ''Red'' Ahead of Its Rerelease |url=https://www.officialcharts.com/chart-news/the-biggest-hits-and-chart-legacy-of-taylor-swifts-red-ahead-of-its-rerelease__33407/ |url-status=live |archive-url=https://web.archive.org/web/20210621172529/https://www.officialcharts.com/chart-news/the-biggest-hits-and-chart-legacy-of-taylor-swifts-red-ahead-of-its-rerelease__33407/ |archive-date=June 21, 2021 |access-date=July 5, 2021 |publisher=[[Official Charts]]}}</ref><ref name="bpi" /> Less than a month after its release, ''Red'' sold 2.8&nbsp;million copies worldwide.<ref name="GAC">{{cite web |last=Wyland |first=Sarah |date=November 23, 2012 |title=Taylor Swift Closes In on Three Million Copies of ''Red'' Sold |url=http://blog.gactv.com/blog/2012/11/23/taylor-swift-closes-in-on-three-million-copies-of-red-sold-worldwide/ |url-status=dead |archive-url=https://web.archive.org/web/20150809133551/http://blog.gactv.com/blog/2012/11/23/taylor-swift-closes-in-on-three-million-copies-of-red-sold-worldwide/ |archive-date=August 9, 2015 |access-date=December 27, 2012 |publisher=[[Great American Country]]}}</ref> By the end of 2012, ''Red'' finished as the global second-best-selling album with 5.2&nbsp;million copies.<ref>{{cite web |title=The Global Bestsellers of 2012 |url=https://www.ifpi.org/downloads/dmr2013-full-report_english.pdf |url-status=dead |archive-url=https://web.archive.org/web/20130409080309/http://www.aria.com.au/documents/RIN2013.pdf |archive-date=April 9, 2013 |access-date=April 10, 2014 |publisher=[[International Federation of the Phonographic Industry]] |page=11}}</ref> By August 2014, it had sold over eight million copies.<ref name="wwsales">{{cite web |last=Vincent |first=Alice |date=August 19, 2014 |title=Taylor Swift's new single Shake It Off shakes up pop music |url=http://www.telegraph.co.uk/culture/music/music-news/11042644/Taylor-Swifts-new-single-Shake-It-Off-shakes-up-pop-music.html |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20151127194613/http://www.telegraph.co.uk/culture/music/music-news/11042644/Taylor-Swifts-new-single-Shake-It-Off-shakes-up-pop-music.html |archive-date=November 27, 2015 |access-date=November 27, 2015 |work=[[The Daily Telegraph]]}}</ref>
+The album reached number one on the record charts of European and Oceanic countries, including Australia,<ref name="ariacharts" /> Canada,<ref name="CAN" /> New Zealand,<ref name="newzealand" /> Ireland,<ref name="ireland" /> and Scotland.<ref name="Scotland" /> It received [[music recording certification|multi-platinum certifications]] in Australia (4× Platinum),<ref name="ARIA-cert" /> Canada (4× Platinum),<ref name="cancert" /> and New Zealand (2× Platinum).<ref name="rmnz" /> In the United Kingdom, ''Red'' was Swift's first number one on the [[UK Albums Chart|Albums Chart]] and had four top-ten songs on the [[UK Singles Chart|Singles Chart]], the most of Swift's albums;<ref>{{cite magazine |last=Sexton |first=Paul |date=October 29, 2012 |title=Taylor Swift Has {{'}}''Red''{{'}} Hot Debut in U.K. |url=http://www.billboard.com/articles/news/474434/taylor-swift-has-red-hot-debut-in-uk |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20170224023843/http://www.billboard.com/articles/news/474434/taylor-swift-has-red-hot-debut-in-uk |archive-date=February 24, 2017 |access-date=October 30, 2012}}</ref> it was certified 2× Platinum by the [[British Phonographic Industry]] (BPI) and sold 619,000&nbsp;copies {{As of|June 2021|alt=as of June 2021}}.<ref name="Legacy">{{cite web |author=George Griffiths |date=June 21, 2021 |title=The Biggest Hits and Chart Legacy of Taylor Swift's ''Red'' Ahead of Its Rerelease |url=https://www.officialcharts.com/chart-news/the-biggest-hits-and-chart-legacy-of-taylor-swifts-red-ahead-of-its-rerelease__33407/ |url-status=live |archive-url=https://web.archive.org/web/20210621172529/https://www.officialcharts.com/chart-news/the-biggest-hits-and-chart-legacy-of-taylor-swifts-red-ahead-of-its-rerelease__33407/ |archive-date=June 21, 2021 |access-date=July 5, 2021 |publisher=[[Official Charts]]}}</ref><ref name="bpi" /> Less than a month after its release, ''Red'' sold 2.8&nbsp;million copies worldwide.<ref name="GAC">{{cite web |last=Wyland |first=Sarah |date=November 23, 2012 |title=Taylor Swift Closes In on Three Million Copies of ''Red'' Sold |url=http://blog.gactv.com/blog/2012/11/23/taylor-swift-closes-in-on-three-million-copies-of-red-sold-worldwide/ |url-status=dead |archive-url=https://web.archive.org/web/20150809133551/http://blog.gactv.com/blog/2012/11/23/taylor-swift-closes-in-on-three-million-copies-of-red-sold-worldwide/ |archive-date=August 9, 2015 |access-date=December 27, 2012 |publisher=[[Great American Country]]}}</ref> By the end of 2012, ''Red'' finished as the global second-best-selling album with 5.2&nbsp;million copies.<ref>{{cite web |title=The Global Bestsellers of 2012 |url=https://www.ifpi.org/downloads/dmr2013-full-report_english.pdf |url-status=dead |archive-url=https://web.archive.org/web/20130409080309/http://www.aria.com.au/documents/RIN2013.pdf |archive-date=April 9, 2013 |access-date=April 10, 2014 |publisher=[[International Federation of the Phonographic Industry]] |page=11}}</ref> By August 2014, it had sold over eight million copies.<ref name="wwsales">{{cite web |last=Vincent |first=Alice |date=August 19, 2014 |title=Taylor Swift's New Single 'Shake It Off' Shakes Up Pop Music |url=http://www.telegraph.co.uk/culture/music/music-news/11042644/Taylor-Swifts-new-single-Shake-It-Off-shakes-up-pop-music.html |url-access=subscription |url-status=live |archive-url=https://web.archive.org/web/20151127194613/http://www.telegraph.co.uk/culture/music/music-news/11042644/Taylor-Swifts-new-single-Shake-It-Off-shakes-up-pop-music.html |archive-date=November 27, 2015 |access-date=November 27, 2015 |work=[[The Daily Telegraph]]}}</ref>
 == Critical reception ==
@@ Line 174: / Line 164: @@
 ''Red'' generally received positive reviews from contemporary critics, most of whom commended Swift's songwriting.<ref name="lamarketing" /><ref name="tocrev">{{cite web|url=https://tasteofcountry.com/taylor-swift-red-reviews/|title=What Are People Saying about Taylor Swift's {{'}}''Red''{{'}}?|work=[[Taste of Country]]|first=Billy|last=Dukes|date=October 24, 2012|access-date=October 25, 2012|archive-date=October 26, 2012|archive-url=https://web.archive.org/web/20121026030312/http://tasteofcountry.com/taylor-swift-red-reviews/|url-status=live}}</ref> Jon Dolan from ''Rolling Stone'' called the album "a 16-song geyser of willful eclecticism", said Swift "often succeeds in joining the Joni [Mitchell]/Carole King tradition of stark-relief emotional mapping", and that "When she's really on, her songs are like tattoos".<ref name="Rolling Stone">{{cite magazine|last=Dolan|first=Jon|url=https://www.rollingstone.com/music/albumreviews/red-20121018|title=''Red''|magazine=[[Rolling Stone]]|date=October 18, 2012|access-date=October 18, 2012|archive-date=January 15, 2018|url-access=limited|archive-url=https://web.archive.org/web/20180115184423/https://www.rollingstone.com/music/albumreviews/red-20121018|url-status=live}}</ref> ''Pitchfork''{{'}}s Brad Nelson lauded the "newfound patience to Swift's observations" and deeper exploration of emotion in ''Red''{{'}}s songwriting.<ref name="Pitchfork">{{cite web|url=https://pitchfork.com/reviews/albums/taylor-swift-red/|title=Taylor Swift: ''Red'' Album Review|first=Brad|last=Nelson|work=[[Pitchfork (website)|Pitchfork]]|date=August 19, 2019|access-date=August 21, 2019|archive-date=August 20, 2019|archive-url=https://web.archive.org/web/20190820002611/https://pitchfork.com/reviews/albums/taylor-swift-red/|url-status=live}}</ref>
-The album's production polarized critics. ''Billboard'' praised ''Red''{{'s}} radio-friendly tunes that catapulted Swift to even greater fame.<ref name="billboard">{{cite magazine |date=October 19, 2012 |title=Taylor Swift, ''Red'': Track-By-Track Review |url=http://www.billboard.com/articles/review/1066798/taylor-swift-red-track-by-track-review |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20130129071359/http://www.billboard.com/articles/review/1066798/taylor-swift-red-track-by-track-review |archive-date=January 29, 2013 |access-date=July 4, 2013}}</ref> Stephen Thomas Erlewine from AllMusic asserted that although Swift's lyrics about romantic relationships and social anxiety sound somewhat clumsy, they add substance to "the pristine pop confections", which makes ''Red'' a compelling album.<ref name="am">{{cite web|last=Erlewine|first=Stephen Thomas|author-link=Stephen Thomas Erlewine|url=http://www.allmusic.com/album/red-mw0002414735|title=''Red''&nbsp;– Taylor Swift|publisher=[[AllMusic]]|access-date=November 16, 2019|archive-date=November 26, 2017|archive-url=https://web.archive.org/web/20171126153103/https://www.allmusic.com/album/red-mw0002414735|url-status=live}}</ref> ''[[The Guardian]]''{{'s}} Kate Mossman described the album as "one of the finest fantasies pop music has ever constructed".<ref name="Guardian">{{cite web|last=Mossman|first=Kate|url=https://www.theguardian.com/music/2012/oct/18/taylor-swift-red-review|title=Taylor Swift: ''Red''&nbsp;– Review|work=[[The Guardian]]|date=October 18, 2012|access-date=October 18, 2012|archive-date=November 9, 2013|archive-url=https://web.archive.org/web/20131109220046/http://www.theguardian.com/music/2012/oct/18/taylor-swift-red-review|url-status=live}}</ref> Roberts was impressed by the different musical styles as Swift "strives for something much more grand and accomplished".<ref name="latimes">{{cite web|last=Roberts|first=Randall|url=http://www.latimes.com/entertainment/music/posts/la-et-ms-album-review-taylor-swifts-red-brims-with-confidence-20121022,0,2686298.story|title=Album Review: Taylor Swift's ''Red'' Brims with Confidence|work=[[Los Angeles Times]]|url-access=limited|date=October 22, 2012|access-date=December 27, 2012|archive-date=November 12, 2012|archive-url=https://web.archive.org/web/20121112034726/http://www.latimes.com/entertainment/music/posts/la-et-ms-album-review-taylor-swifts-red-brims-with-confidence-20121022,0,2686298.story|url-status=live}}</ref> Caramanica agreed, commenting that the production is a striking feature of ''Red'' that proves Swift is more of a pop star than a country singer.<ref name="The New York Times">{{cite web |last=Caramanica |first=Jon |author-link=Jon Caramanica |date=October 24, 2012 |title=No More Kid Stuff for Taylor Swift |url=https://www.nytimes.com/2012/10/28/arts/music/no-more-kid-stuff-for-taylor-swift.html?_r=0 |url-access=limited |url-status=live |archive-url=https://web.archive.org/web/20200423032437/https://www.nytimes.com/2012/10/28/arts/music/no-more-kid-stuff-for-taylor-swift.html?_r=0 |archive-date=April 23, 2020 |access-date=June 29, 2016 |work=[[The New York Times]]}}</ref>
+The album's production polarized critics. ''Billboard'' praised ''Red''{{'s}} radio-friendly tunes that catapulted Swift to even greater fame.<ref name="billboard">{{cite magazine |date=October 19, 2012 |title=Taylor Swift, ''Red'': Track-By-Track Review |url=http://www.billboard.com/articles/review/1066798/taylor-swift-red-track-by-track-review |url-status=live |magazine=[[Billboard (magazine)|Billboard]] |archive-url=https://web.archive.org/web/20130129071359/http://www.billboard.com/articles/review/1066798/taylor-swift-red-track-by-track-review |archive-date=January 29, 2013 |access-date=July 4, 2013}}</ref> [[Stephen Thomas Erlewine]] from AllMusic asserted that although Swift's lyrics about romantic relationships and social anxiety sound somewhat clumsy, they add substance to "the pristine pop confections", which makes ''Red'' a compelling album.<ref name="am">{{cite web|last=Erlewine|first=Stephen Thomas|author-link=Stephen Thomas Erlewine|url=http://www.allmusic.com/album/red-mw0002414735|title=''Red''&nbsp;– Taylor Swift|publisher=[[AllMusic]]|access-date=November 16, 2019|archive-date=November 26, 2017|archive-url=https://web.archive.org/web/20171126153103/https://www.allmusic.com/album/red-mw0002414735|url-status=live}}</ref> ''[[The Guardian]]''{{'s}} Kate Mossman described the album as "one of the finest fantasies pop music has ever constructed".<ref name="Guardian">{{cite web|last=Mossman|first=Kate|url=https://www.theguardian.com/music/2012/oct/18/taylor-swift-red-review|title=Taylor Swift: ''Red''&nbsp;– Review|work=[[The Guardian]]|date=October 18, 2012|access-date=October 18, 2012|archive-date=November 9, 2013|archive-url=https://web.archive.org/web/20131109220046/http://www.theguardian.com/music/2012/oct/18/taylor-swift-red-review|url-status=live}}</ref> Roberts was impressed by the different musical styles as Swift "strives for something much more grand and accomplished".<ref name="latimes">{{cite web|last=Roberts|first=Randall|url=http://www.latimes.com/entertainment/music/posts/la-et-ms-album-review-taylor-swifts-red-brims-with-confidence-20121022,0,2686298.story|title=Album Review: Taylor Swift's ''Red'' Brims with Confidence|work=[[Los Angeles Times]]|url-access=limited|date=October 22, 2012|access-date=December 27, 2012|archive-date=November 12, 2012|archive-url=https://web.archive.org/web/20121112034726/http://www.latimes.com/entertainment/music/posts/la-et-ms-album-review-taylor-swifts-red-brims-with-confidence-20121022,0,2686298.story|url-status=live}}</ref> Caramanica agreed, commenting that the production is a striking feature of ''Red'' that proves Swift is more of a pop star than a country singer.<ref name="The New York Times">{{cite web |last=Caramanica |first=Jon |author-link=Jon Caramanica |date=October 24, 2012 |title=No More Kid Stuff for Taylor Swift |url=https://www.nytimes.com/2012/10/28/arts/music/no-more-kid-stuff-for-taylor-swift.html?_r=0 |url-access=limited |url-status=live |archive-url=https://web.archive.org/web/20200423032437/https://www.nytimes.com/2012/10/28/arts/music/no-more-kid-stuff-for-taylor-swift.html?_r=0 |archive-date=April 23, 2020 |access-date=June 29, 2016 |work=[[The New York Times]]}}</ref>
 Critics often considered ''Red'' to be a sign of Swift growing up. ''Billboard'' considered ''Red'' to be her first adult pop album, describing her previous works as that of "an accomplished teenager".<ref name="billboard" /> Caramanica stated that her growth was "largely musical, not experiential."<ref name="The New York Times" /> He noted that she was beginning to show more maturity as a strategist and adult.<ref name="The New York Times" /> Caramanica asserted that there are indications that ''Red'' shows her "body is as alive as her mind," which was "territory she's generally skipped before now."<ref name="The New York Times" /> Dolan considered the album part "[[Joni Mitchell]]-influenced maturity binge" and part pop, describing the combination as "not just inevitable but natural."<ref name="Rolling Stone" /> ''Spin''{{'s}} Michael Robbins characterized the album as a record "full of adult pleasures".<ref name="spin">{{cite web|last=Robbins|first=Michael|url=http://www.spin.com/reviews/taylor-swift-red-big-machine|title=Taylor Swift, ''Red'' (Big Machine)|work=[[Spin (magazine)|Spin]]|date=October 25, 2012|access-date=December 27, 2012|archive-date=November 3, 2012|archive-url=https://web.archive.org/web/20121103043151/http://www.spin.com/reviews/taylor-swift-red-big-machine|url-status=live}}</ref>
-Some reviewers were more reserved in their praise. Jonathan Keefe from ''Slant Magazine'' considered ''Red'' not consistent enough to be "truly great" but asserted that some of the songs were "career-best work for Swift, who now sounds like the pop star she was destined to be all along".<ref name="Slant">{{cite web |last=Keefe |first=Jonathan |url=http://www.slantmagazine.com/music/review/taylor-swift-red/2900 |title=Taylor Swift: ''Red'' |work=[[Slant Magazine]] |date=October 22, 2012 |access-date=December 27, 2012 |archive-date=October 12, 2013 |archive-url=https://web.archive.org/web/20131012014408/http://www.slantmagazine.com/music/review/taylor-swift-red/2900 |url-status=live}}</ref> Michael Gallucci from ''The A.V. Club'' argued the music was more ambitious than Swift's previous records but considered the album as a whole "complicated and sometimes unfocused".<ref name="A.V. Club">{{cite web|last=Gallucci|first=Michael|url=http://www.avclub.com/articles/taylor-swift-red,87872/|title=Taylor Swift: ''Red''|work=[[The A.V. Club]]|date=October 24, 2012|access-date=January 8, 2015|archive-date=November 5, 2013|archive-url=https://web.archive.org/web/20131105045049/http://www.avclub.com/articles/taylor-swift-red,87872/|url-status=live}}</ref> He considered the duets boring and the occasional use of [[Auto-Tune]] to "sound like any number of indistinguishable female pop singers".<ref name="A.V. Club" /> Writing for ''[[MSN Music]]'', [[Robert Christgau]] viewed ''Red'' as an inferior version of [[the Magnetic Fields]]' 1999 album ''[[69 Love Songs]]'' but appreciated "Begin Again" and "Stay Stay Stay", considering them to "stay happy and hit just as hard" as songs on ''69 Love Songs''.<ref name="MSN Music">{{cite web|last=Christgau|first=Robert|author-link=Robert Christgau|url=http://social.entertainment.msn.com/music/blogs/expert-witness-blogpost.aspx?post=ecfb3591-0586-469f-a06d-02ae904b641c|title=Taylor Swift/Donald Fagen|work=[[MSN Music]]|date=November 13, 2012|access-date=October 18, 2012|url-status=dead|archive-url=https://web.archive.org/web/20130723134433/http://social.entertainment.msn.com/music/blogs/expert-witness-blogpost.aspx?post=ecfb3591-0586-469f-a06d-02ae904b641c|archive-date=July 23, 2013}}</ref> ''[[The Daily Telegraph]]''{{'s}} James Lachno found the production bloated and commented the album would be better had Swift fully embraced mainstream pop and abandoned her old country sound.<ref name="Telegraph">{{cite news|last=Lachno|first=James|url=https://www.telegraph.co.uk/culture/music/cdreviews/9618220/Taylor-Swift-Red-album-review.html|title=Taylor Swift, ''Red'', Album Review|newspaper=[[The Daily Telegraph]]|date=October 19, 2012|access-date=August 13, 2016|archive-date=October 12, 2016|archive-url=https://web.archive.org/web/20161012044011/http://www.telegraph.co.uk/culture/music/cdreviews/9618220/Taylor-Swift-Red-album-review.html|url-status=live}}</ref> Mesfin Fekadu of the [[Associated Press]] asserted that the album "sounded empty" compared to ''Fearless'' (2008) and ''Speak Now'' (2010), but praised "I Almost Do" and the duets.<ref>{{Cite news|last=Fekadu|first=Mesfin|date=October 24, 2012|title=Taylor Swift's {{'}}''Red''{{'}} fades to mediocrity|pages=E10|work=[[The Des Moines Register]]|agency=[[Associated Press]]|url=https://www.newspapers.com/clip/81966343/taylor-swifts-red-fades-to-mediocrity/|access-date=July 22, 2021|archive-date=July 24, 2021|archive-url=https://web.archive.org/web/20210724154608/https://www.newspapers.com/clip/81966343/taylor-swifts-red-fades-to-mediocrity/|url-status=live}}</ref>
+Some reviewers were more reserved in their praise. Jonathan Keefe from ''Slant Magazine'' considered ''Red'' not consistent enough to be "truly great" but asserted that some of the songs were "career-best work for Swift, who now sounds like the pop star she was destined to be all along".<ref name="Slant">{{cite web |last=Keefe |first=Jonathan |url=http://www.slantmagazine.com/music/review/taylor-swift-red/2900 |title=Taylor Swift: ''Red'' |work=[[Slant Magazine]] |date=October 22, 2012 |access-date=December 27, 2012 |archive-date=October 12, 2013 |archive-url=https://web.archive.org/web/20131012014408/http://www.slantmagazine.com/music/review/taylor-swift-red/2900 |url-status=live}}</ref> Michael Gallucci from ''The A.V. Club'' argued the music was more ambitious than Swift's previous records but considered the album as a whole "complicated and sometimes unfocused".<ref name="A.V. Club">{{cite web |last=Gallucci |first=Michael |date=October 24, 2012 |title=Taylor Swift: ''Red'' |url=http://www.avclub.com/articles/taylor-swift-red,87872/ |url-status=dead |archive-url=https://web.archive.org/web/20131105045049/http://www.avclub.com/articles/taylor-swift-red,87872/ |archive-date=November 5, 2013 |access-date=January 8, 2015 |work=[[The A.V. Club]]}}</ref> He considered the duets boring and the occasional use of [[Auto-Tune]] to "sound like any number of indistinguishable female pop singers".<ref name="A.V. Club" /> Writing for ''[[MSN Music]]'', [[Robert Christgau]] viewed ''Red'' as an inferior version of [[the Magnetic Fields]]' 1999 album ''[[69 Love Songs]]'' but appreciated "Begin Again" and "Stay Stay Stay", considering them to "stay happy and hit just as hard" as songs on ''69 Love Songs''.<ref name="MSN Music">{{cite web|last=Christgau|first=Robert|author-link=Robert Christgau|url=http://social.entertainment.msn.com/music/blogs/expert-witness-blogpost.aspx?post=ecfb3591-0586-469f-a06d-02ae904b641c|title=Taylor Swift/Donald Fagen|work=[[MSN Music]]|date=November 13, 2012|access-date=October 18, 2012|url-status=dead|archive-url=https://web.archive.org/web/20130723134433/http://social.entertainment.msn.com/music/blogs/expert-witness-blogpost.aspx?post=ecfb3591-0586-469f-a06d-02ae904b641c|archive-date=July 23, 2013}}</ref> ''[[The Daily Telegraph]]''{{'s}} James Lachno found the production bloated and commented the album would be better had Swift fully embraced mainstream pop and abandoned her old country sound.<ref name="Telegraph">{{cite news|last=Lachno|first=James|url=https://www.telegraph.co.uk/culture/music/cdreviews/9618220/Taylor-Swift-Red-album-review.html|title=Taylor Swift, ''Red'', Album Review|newspaper=[[The Daily Telegraph]]|date=October 19, 2012|access-date=August 13, 2016|archive-date=October 12, 2016|archive-url=https://web.archive.org/web/20161012044011/http://www.telegraph.co.uk/culture/music/cdreviews/9618220/Taylor-Swift-Red-album-review.html|url-status=live}}</ref> Mesfin Fekadu of the [[Associated Press]] asserted that the album "sounded empty" compared to ''Fearless'' (2008) and ''Speak Now'' (2010), but praised "I Almost Do" and the duets.<ref>{{Cite news|last=Fekadu|first=Mesfin|date=October 24, 2012|title=Taylor Swift's {{'}}''Red''{{'}} fades to mediocrity|pages=E10|work=[[The Des Moines Register]]|agency=[[Associated Press]]|url=https://www.newspapers.com/clip/81966343/taylor-swifts-red-fades-to-mediocrity/|access-date=July 22, 2021|archive-date=July 24, 2021|archive-url=https://web.archive.org/web/20210724154608/https://www.newspapers.com/clip/81966343/taylor-swifts-red-fades-to-mediocrity/|url-status=live}}</ref>
 == Accolades ==
@@ Line 751: / Line 741: @@
 {{Certification Table Entry|region=Switzerland|artist=Taylor Swift |title=Red |type=album |award=Platinum |relyear=2012 |certyear=2024 |access-date=April 15, 2024}}
 {{Certification Table Entry|type=album|region=United Kingdom|artist=Taylor Swift|title=Red|award=Platinum|number=2|relyear=2012|certyear=2016|id=5407-1598-2|access-date=June 12, 2017|salesamount=619,000|refname="bpi"|salesref={{NoteTag|UK sales for ''Red'' of June 2021<ref name="Legacy"/>|name="UKalbums"}}}}
-{{Certification Table Entry|type=album|region=United States|artist=Taylor Swift|title=Red|award= Platinum|number= 7|certyear=2017|relyear=2012|access-date=December 11, 2017|refname="riaa"|salesamount= 4,582,000|salesref={{NoteTag|US sales for ''Red'' as of January 2024<ref name="US2024sales">{{cite magazine |url=https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-2-million-sales-1235584599/ |title=Taylor Swift's '1989 (Taylor's Version)' Surpasses 2 Million in U.S. Sales |last=Caulfield |first=Keith |magazine=[[Billboard (magazine)|Billboard]] |date=January 18, 2024 |access-date=January 19, 2024}}</ref>}}}}
+{{Certification Table Entry|type=album|region=United States|artist=Taylor Swift|title=Red|award= Platinum|number= 7|certyear=2017|relyear=2012|access-date=December 11, 2017|refname="riaa"|salesamount= 4,582,000|salesref={{NoteTag|US sales for ''Red'' as of January 2024<ref name="US2024sales">{{cite magazine |url=https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-2-million-sales-1235584599/ |title=Taylor Swift's ''1989 (Taylor's Version)'' Surpasses 2 Million in U.S. Sales |last=Caulfield |first=Keith |magazine=[[Billboard (magazine)|Billboard]] |date=January 18, 2024 |access-date=January 19, 2024}}</ref>}}}}
 {{Certification Table Bottom|streaming=true}}
@@ Line 775: / Line 765: @@
 *{{cite book |last1=Lamb |first1=Charles W. |first2=Joe F. |last2=Hair |first3=Carl |last3=McDaniel |title=MKTG 8: Principles of Marketing |publisher=[[Cengage]] |year=2014 |isbn=978-1-305-43699-2}}
 *{{cite journal |last=McNutt |first=Myles |title=From 'Mine' to 'Ours': Gendered Hierarchies of Authorship and the Limits of Taylor Swift's Paratextual Feminism |year=2020 |journal=[[Communication, Culture and Critique]] |volume=13 |issue=1 |pages=72–91 |doi=10.1093/ccc/tcz042}}
-*{{cite book |last=Perone |first=James E. |title=The Words and Music of Taylor Swift |publisher=[[ABC-Clio]] |year=2017 |isbn=978-1-4408-5294-7 |series=The Praeger Singer-Songwriter Collection}}
+*{{cite book |last=Perone |first=James E. |title=The Words and Music of Taylor Swift |publisher=[[ABC-Clio]] |year=2017 |isbn=978-1-4408-5294-7 |series=The Praeger Singer-Songwriter Collection |pages=43–54 |chapter=''Red''}}
 *{{cite book |last=Spencer |first=Liv |title=Taylor Swift: The Platinum Edition |year=2013 |publisher=[[ECW Press]] |isbn=978-1-77041-151-7}}
 *{{cite book |last=Tanner |first=Grafton |title=The Circle of the Snake: Nostalgia and Utopia in the Age of Big Tech |year=2020 |publisher=[[John Hunt Publishing]] |isbn=978-1-78904-023-4 |url=https://books.google.com/books?id=oBQFEAAAQBAJ&pg=PT57 |access-date=December 31, 2020 |archive-date=June 24, 2021 |archive-url=https://web.archive.org/web/20210624203446/https://books.google.com/books?id=oBQFEAAAQBAJ&pg=PT57 |url-status=live}}

v t e Taylor Swift
Albums discography Singles discography Awards and nominations Live performances Songs Videography Public image
Studio albums	Taylor Swift Fearless Speak Now Red 1989 Reputation Lover Folklore Evermore Midnights The Tortured Poets Department
Re-recorded albums	Fearless (Taylor's Version) Red (Taylor's Version) Speak Now (Taylor's Version) 1989 (Taylor's Version)
Extended plays	The Taylor Swift Holiday Collection Beautiful Eyes
Live albums	Speak Now World Tour – Live Live from Clear Channel Stripped 2008 Lover (Live from Paris) Folklore: The Long Pond Studio Sessions
Concert tours	Fearless Tour Speak Now World Tour The Red Tour The 1989 World Tour Reputation Stadium Tour The Eras Tour
Films and specials	Miss Americana City of Lover Folklore: The Long Pond Studio Sessions All Too Well: The Short Film Taylor Swift: The Eras Tour
Family	Austin Swift Marjorie Finlay Olivia Benson
Residences	High Watch Samuel Goldwyn Estate
Legacy	Cultural impact Fashion Political impact Swifties Impact of the Eras Tour Nannaria swiftae Castianeira swiftay
Controversies and incidents	2009 MTV Video Music Awards Sexual assault trial Masters dispute Ticketmaster controversy Death of Ana Clara Benevides Deepfake pornography Southport stabbing Vienna terrorism plot
Related	Taylor Swift Productions Ashley Leechin Tree Paine Taylor Sheesh SwiftOnSecurity Bryan West
Category

Authority control databases
International	VIAF
Other	MusicBrainz release group