Pat Benatar’s “Heartbreaker” from In the Heat of the Night (1979) marked her breakthrough, climbing to #23 on the US Billboard Hot 100 and earning her rock icon status. Originally recorded by Jenny Darren, Benatar’s version revamped the lyrics for American audiences, delivering a high-energy anthem that still sounds great on the radio.
Roger Daltrey’s Isolated Vocals For The Who’s “I Can See For Miles”
“I Can See for Miles,” The Who’s only single from their 1967 album The Who Sell Out, is a masterclass in late ’60s studio innovation. Written by Pete Townshend, the track’s sprawling production spans sessions in London, New York, and Los Angeles, resulting in a thunderous mix of dynamic vocals and groundbreaking rock energy.
Canadian Steve Strongman Celebrated for Contributions to Grammy-Nominated ‘Struck Down’ by The Fabulous Thunderbirds
Stony Plain Records is thrilled to share that Canadian producer, guitarist, and songwriter Steve Strongman is associated with two Grammy-nominated categories for the 2025 Grammy Awards, honoring his exceptional contributions to the acclaimed album Struck Down by The Fabulous Thunderbirds.
The nominations are:
- Best Traditional Blues Album for Struck Down, which Strongman co-wrote and co-produced with Thunderbirds’ frontman Kim Wilson.
- Best American Roots Performance for “Nothing In Rambling,” featuring Strongman alongside Bonnie Raitt, Keb’ Mo’, Taj Mahal, and Mick Fleetwood.
Struck Down has made waves on the blues charts, securing:
- #1 on the iTunes Canada Blues Chart
- #1 on the iTunes U.S. Blues Chart
- Top 65 on the Billboard Top 200 Albums Chart
Steve Strongman played a pivotal role in shaping Struck Down, co-writing nine of the album’s ten tracks with Wilson and contributing his signature guitar work to its dynamic sound. The album’s title track, “Struck Down By The Blues,” highlights Strongman’s seamless synergy with Wilson’s harmonica.
“Working on Struck Down with Kim Wilson and The Fabulous Thunderbirds was an incredible experience,” said Strongman. “The creative energy during the writing and recording sessions was inspiring, and I’m deeply honored to see the album receive such recognition.”
A native of Hamilton, Ontario, Strongman is no stranger to accolades, having earned multiple Maple Blues Awards and a Juno Award. These Grammy nominations mark a significant milestone in his career, showcasing his ability to elevate blues music on a global stage.
Struck Down continues to earn acclaim for its seamless blend of blues-rock tradition and modern innovation. Strongman’s collaboration with The Fabulous Thunderbirds highlights his ability to push boundaries within the genre while staying true to its roots.
The 67th Annual Grammy Awards will be held on February 2, 2025, live from the Crypto.com Arena in Los Angeles, California.
Steve Strongman Tour Dates:
- Wed, Jan 22, 2025 @ 7:00 PM — Wed, Jan 29, 2025 @ 7:00 PM, Samsara, Negril, Jamaica,
- Sat, May 3, 2025 @ 8:30 PM, King Eddy, 438 9 Ave SE, Calgary
- Sun, Jun 22, 2025 @ 4:00 PM, Uxbridge, Ontario (location disclosed with reservation, contact mbbl.blues@gmail.com)
For more information about Steve Strongman and his work on Struck Down, visit www.stevestrongman.com.
4x MusicNL Nominated Rozalind MacPhail Reimagines Jill Barber’s ‘In Perfect Time’ with an Ethereal Indie Folktronica Twist
Artists sometimes pay tribute to those who have inspired them by covering their material. But often those renditions are run-of-the-mill, note-for-note efforts that rarely push the creative envelope. Thankfully, Toronto Island-born and now St. John’s, Newfoundland-based indie pop singer and acclaimed flutist Rozalind MacPhail has given kudos to Canadian jazz pop singer Jill Barber with a sensational, chic cover of “In Perfect Time,” a song Barber originally released on her 2004 EP entitled Oh Heart. It’s the lead single from MacPhail’s anticipated 2025 studio effort Push & Pull.
MacPhail was inspired to cover “In Perfect Time” during the Unscripted Twillingate — Digital Artist Residency (DART), an artist residency MacPhail took located on rural Newfoundland’s majestic island of Twillingate back in 2021. She says the song has “always held a special place in my heart” since it came out two decades ago. “Her melancholic melodies and heartfelt vocals paint a poignant picture of love lost and the ache of moving on,” she says. “Jill’s song has comforted me during many heavy moments throughout my life. Her lyrics speak to my soul.”
MacPhail, who plays omnichord and alto flute on the track to complement her adoring vocals and delivery, says the time and location was perfect to cover “In Perfect Time,” creating “an indie folktronica version of this folk classic.” As well, musician Brad Weber, best known for his work in his group Pick A Piper and drumming in the Juno Award-winning group Caribou, adds electronics for a mystical, atmospheric vibe. Terry Barrow recorded MacPhail’s vocals in St. John’s, Newfoundland while MacPhail recorded some tracks for the single in the rural island Salt Harbour, Newfoundland. Meanwhile, Jason Jaknunas mixed the song and Noah Mintz mastered it.
“In Perfect Time” differs from the roots-based, train chugging back beat of Barber’s version, instead giving it an eclectic electronica flavoring, bringing to mind Metric or Metric’s Emily Haines solo work, Florence & the Machine, Yeah Yeah Yeah’s Karen O., or even Marianne Faithfull. It hits all the right notes in all the right places while taking the song in an entirely different but marvelous musical direction.
MacPhail also released a video for “In Perfect Time” shot in Twillingate by Newfoundland cinematographers Julian Earle and Joshua Caine. The video shows an elderly woman with middle stage dementia waiting for her husband (who passed several years prior) to return every day from work, forgetting he has died. “I lost my own grandmother to dementia, and my husband and I are currently caring for other family members who are experiencing different stages of dementia,” MacPhail says. “It’s a heartbreaking experience to witness their mental decline, but there are also many touching moments we experience where we get a glimpse of how our loved ones are still there. These tiny moments of clarity give us hope. This was our attempt to help those experiencing it with their loved ones feel less alone.”
“In Perfect Time” is the first single from MacPhail’s upcoming studio album Push & Pull, which will be a “waterfall release” over a 12-month period before being issued on vinyl at the end of 2025. It marks MacPhail’s first time branching out into more vocal-oriented material after previously recording instrumentals on flute. The album was inspired by the singer feeling “a sense of urgency” to document the local history and stories from Twillingate and its residents through the eyes of a singer-songwriter.
MacPhail, a classically-trained looping flutist, has produced several solo albums while composing music for film the last 20 years. Her first solo album was 2007’s Edgework. Since then, additional releases include 2013’s Head First, 2016’s From the River to the Ocean, 2017’s Sunset Sunrise, 2018’s Love and Let Be, 2019’s Don’t Let Me Fall Too Far, and 2021’s single Never Let Go. The artist has received five ECMA nominations for Electronic Recording of the Year to go alongside four MusicNL nominations for Instrumental Recording of the Year over her career. She has also toured internationally while winning MusicNL’s Music Educator of the Year Award in 2022. In 2023, MacPhail earned an East Coast Music Award Industry Innovator of the Year nomination. And she’s also performed internationally in festivals while appearing on Radio Sweden, NPR, and CBC Radio.
Now with a new single in “In Perfect Time,” a new studio album in Push & Pull, and plans for international touring with an “interactive hybrid concert” entitled Inspiration Soup, Rozalind MacPhail has found the perfect song that will be playing in your head for some time to come!
Niagara-on-the-Lake’s First Coworking Space, Haven, Redefines Flexibility and Collaboration for Today’s Professionals
Whether you’re in entertainment or any other business that needs to be at the vanguard of cultural evolution, you know that adaptability to constantly shifting workplace realities isn’t just a nice theory—it’s a physical necessity. That kind of perpetual flexibility is waiting behind the doors of Haven, Niagara-on-the-Lake’s very first coworking facility, open now. Not only is Haven a state-of-the-art commercial center, but it’s also an endlessly malleable professional environment that’s ready to meet the needs of everyone from business owners and creative entrepreneurs on down to freelancers, remote workers and all-around digital nomads.
Located in the commercial heart of NOTL, Haven offers a variability of form and function that opens the door to an infinite number of operational approaches. Gone are the structures of conventional offices, with their fixed layouts and rigidly defined parameters. In their place is the freedom to switch up your M.O. on a dime, instantly transforming the methodologies of last week into the winning strategies of tomorrow.
Located at 242 Mary Street, Unit 8 (Second Level), Haven combines state-of-the-art facilities with an emphasis on community, technology, and flexibility to meet the needs of entrepreneurs, freelancers, and remote workers alike.
From now until January 31st, Haven is offering an introductory discount on memberships via Indiegogo. Afterward, memberships will be available directly through the Haven website at regular rates. Prospective members can also book private tours of the space online. Both links are accessible via the Haven website.
The 1,700-square-foot office area boasts an impressive array of hot desks, conference and call rooms, private offices, a reception area, a lounge and a kitchen stocked with high-end amenities. Just beyond lies event space that’s ideal for hosting private workshops, business mixers and product/project launches. The shared-space model fosters a sense of community and endless possibility, encouraging collaboration among the forward thinkers of NOTL and the broader Niagara region.
If music is your trade, you’ll find Haven the ideal platform to showcase Canadian and international artists who want to raise their profile via listening parties and affairs keyed to important song or album releases. Or use the same space for educational workshops focusing on the nuts and bolts of the industry, like technological advancements and the intricacies of entertainment law. From project incubation to public presentation, the opportunities that Haven presents are as limitless as your professional imagination.
What’s more, this is the first coworking space to leverage the capabilities of AI for seamless management of customer service, billing, memberships, sales and content marketing. That emphasis on time-saving technology frees up the in-person team to focus on building meaningful relationships and fostering a true sense of community. Whatever your long- or short-term goals, the Haven approach puts you in touch with the tools and knowledge you need to take your working concept from the local drawing board to success on the world stage.
Behind this one-of-a-kind undertaking are two firmly established business leaders with a broad knowledge base and a rich history of innovation. Co-founder Reggie Tan has raised the bar for marketing at his Story Mode Marketing Company Inc., a leader in its field that specializes in emerging markets like AI, blockchain, crypto and fintech. Adept at wearing the hats of senior web3 fractional CMO, growth hacker, storyteller, educator, speaker and writer, Reggie brings a top-down perspective and in-depth insight to the art of marketing, encompassing all aspects of content and delivery.
Haven co-founder Madaline Zannes is principal lawyer at her Zannes Law Firm, where she provides legal and advising services to Canadian and international clients. She’s a certified corporate trainer and facilitator, speaker, guest lecturer and a writer whose work has been featured in a host of publications. As an entertainment agent, she’s cultivated the branding of musicians, artists, models and other talent; she’s also done extensive work as a legal technology consultant, spurring that industry to adopt future-forward practices and next-generation technologies.
“Haven Workspace was born out of the need for a dedicated professional environment in Niagara-on-the-Lake that fosters creativity and collaboration,” Reggie says. Adds Madaline: “We envisioned a space where local professionals can connect with one another and thrive amongst the very unique history and inspiring energy of Niagara-on-the-Lake.”
Haven is located at 242 Mary Street, Unit 8 (Second Level), Niagara-on-the-Lake, Ontario. The grand opening of the facility is set for early January 2025, following a month’s worth of soft-launch events and membership sales. (Prospective members can message the company’s AI assistant on Whatsapp and Telegram to learn more about Haven.)
“Whether you’re a digital nomad exploring wine country or a local entrepreneur ready to scale, Haven isn’t just about beautiful workspace,” Reggie says. “It’s about connecting you with the tools, community and opportunities to thrive in today’s digital economy.” For Madaline, it’s the culmination of a long-held vision:
“After years working in Toronto’s bustling legal and tech scene, I understand the unique needs of today’s professionals. We’re creating the kind of space I wish had existed when I first moved to NOTL. We look forward to welcoming you to your new professional home.”
Right on Cue: Legendary Manager Harvey Lisberg’s Memoir Reveals Snooker’s Wild Side
When you think about it, professional snooker is a lot like rock and roll: They both involve a certain amount of gambling, and in each one, your success hinges on staying in the pocket. But there’s one key difference: Snooker players are wilder. A lot wilder.
That’s Harvey Lisberg’s story, anyway. A legendary manager who’s handled both rock stars and giants of sport, he’s chosen to spill the juicy details of the latter in his new ebook, Managing the Bad Boys of Snooker: Jimmy White and Alex Higgins. And the way he describes it, looking after the likes of “Hurricane” Higgins and “Whirlwind” White was a brush with utter madness that not even his years in the trenches of pop could have prepared him for.
“The snooker players were way more rock ‘n roll than the rock ‘n roll stars, and there’s huge irony in that. But it’s true! Some of the stories are just irresistible, so I decided to write them into a book.”
To be precise, the new book is an outgrowth of his earlier memoir, I’m Into Something Good, which told how a 22-year-old accountant from Salford UK came to guide the careers of Herman’s Hermits, 10cc, Tony Christie and other stalwarts of the charts. In the midst of all that musical activity was an early ‘80s detour into sports management—brought about, he says, by a lack of interest in working with the punk and New Wave artists of the day, but which ended up yielding its own special brand of anarchy.
“Between 1980 and 1984, I got more publicity in snooker than in almost 20 years of music, and the stories are amazing … from a winter trip with Alex Higgins in deep snow on the M62 from Yorkshire back to Manchester over the Pennines … to Jimmy White’s involvement with the ‘Two Ronnies’—not the comedy duo, but Ronnie Wood of The Rolling Stones and Ronnie Kray of The Kray Twins.”
Any account that features an appearance by one of the most notorious gangsters in British history has to be a wild ride. The Audible version of the book makes the author’s stories even more immersive by working in a playable sample of original music. Because while his sojourn into snooker was a relatively brief interlude in a career that’s focused largely on music—now living in Rancho Mirage, California, he’s been responsible for booking stadium acts like The Eagles, Tom Petty, The Who and Luis Miguel into the Indian Wells Tennis Garden near Palm Springs—the snooker years were simply unforgettable. And revisiting them for his two books has brought those days to life again in more ways than one
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“The best rewards of writing my memoir were the wonderful reviews, podcasts, personal appearances and broadcasts, and then rekindling old friendships as a result,” Lisberg says. “Now I’m in daily contact with Jimmy White and share a weekly football bet with him—on the understanding it is the only betting we do. We’re born-again recovering gamblers!”
Pick up Managing the Bad Boys of Snooker, and let yourself in on a sure bet. Get it on Audible or Amazon.
Autistic License: Victoria, BC’s RHIANNA BARR-BEAUMONT Sings With Every Colour of the Spectrum
Slowly but surely, our society is finally starting to understand neurodivergence. As more and more of those on the spectrum come forward with their experiences, we’re gaining invaluable insight into their unique ways of seeing and hearing—the special process by which they navigate the world.
For that, we can thank artists like Victoria, BC’s Rhianna Barr-Beaumont, whose diagnosed autism hasn’t been a roadblock in her path to musical achievement. Instead, it’s merely another aspect of her story. From Day One, she’s used music as an expression of love, joy, heartbreak and gratitude, letting songs convey her feelings when she couldn’t find the words for what she was trying to say.
https://music.youtube.com/watch?v=oV9Cb7qYOdE&si=bLsWsI8i87gpSCr2
“I believe music is a source of holistic healing for the mind, body and spirit,” she says. “From my earliest memory, music has been a constant source of joy in my life.”
And when she says “earliest,” she means it: She’s been singing since before she could talk. Now, as a full-grown woman, she isn’t just a highly developed vocalist with a beautifully ethereal coloratura mezzo-soprano voice; she’s an all-in-one production machine who variously wears the hats of singer, songwriter, producer and multi-instrumentalist.
Whether she’s laying down one of her original compositions or a cover of one of her favorite songs, Barr-Beaumont is constantly creating fresh arrangements with her arsenal of keyboards and digital music equipment. Working from the home she shares with her husband in beautiful Victoria, she’s become adept at leveraging tools like piano sequencers, GarageBand and the workstation Reaper to capture the sounds she hears in her head. It’s a solitary process to be sure, but one that paradoxically allows her to connect with the world at large on a level not everyone gets to experience.
The latest result of that process is her version of “Cold Hearted,” the 1988 Paula Abdul dance-pop classic she’s given her own singular twist. Stripped down and with a greater emphasis on electronic accents, the rendition she’s come up with is an almost breezy take on Abdul’s cautionary tale.
“I’ve known ‘Cold Hearted’ since I was a teenager, and I’ve always been drawn to its powerful lyrics,” Barr-Beaumont says. “The song’s message of warning someone about a person who doesn’t have their best interests at heart stuck with me. It’s a strong, relatable theme that I felt needed to be reinterpreted with my own style.”
Not that she’s gotten too heavy with it:
“I absolutely love this song because it’s pure pop,” she says. “It’s one of those guilty pleasures that just never gets old. There’s something timeless about its upbeat energy and catchy melody. It’s a song that instantly gets stuck in your head.”
The way she sees it, reliability and routine are the key to building trust with an audience. Plus, they’re simply good for everybody’s mental health: She’s a firm believer that music is Vitamin H—Vitamin Harmony—and we all need a dose every day. Sounds like just what the doctor ordered.
Americana Rocker J.P. Mortier Hits the Gas with Road-Trip Anthem “Drive Far”
The history of rock is rife with great driving songs: “Radar Love,” “Highway Star,” “I Drove All Night.” To that list, add J.P. Mortier’s “Drive Far,” an instantly addictive entry in the pantheon of tunes that compel you to lean on that pedal just a little bit harder the moment the first bars kick in.
His gas tank full and his yen to explore boundless, the Montreal singer-songwriter accelerates himself through a night of motor-vating all the way ’til dawn, “always searching for what’s just beyond.” At the end of the eternal horizon waits the perfect passenger—someone who can join him in his addiction to the open road.
“Someday I’ll find you,” he promises. “I’ll drive you very far.”
And with music like this, who could resist the invitation? The song is a case study in petrol-burning forward motion, although its galloping rhythm and earthy atmospherics lay bare Mortier’s particular intention to ape the film scores of Ennio Morricone. (The “imaginary Western” feel is cemented by a transcendent trumpet solo from Josiane Rouette.)
“It’s definitely a road song, as the title suggests,” Mortier says. “But it’s also about finding your way in life and finding a partner to take that journey with. I wanted to capture the feeling I got when I was driving in western Canada and the U.S. when I was touring over the past years. Play that song in your car (or while riding your horse) and feel the call to head out on a road trip of your own.”
The number is an exhilarating highlight of Mortier’s latest album, Together, an eclectic collection of tunes it took him three years (and six different studios) to perfect. Care and commitment ring out from every note of the world-class material, ranging from the punked-out and disdainful “Buck the System” to the epic title track, which documents the stages of a relationship over an impressive 16 minutes. (And let’s face it: These days, 16 minutes qualifies as a looong relationship.)
The making of the album itself was indeed a distance event, but it wasn’t solely due to Mortier’s exacting standards. There was a certain worldwide pandemic to contend with, which forced him to entirely rethink (and then re-rethink) his approach to recording. At the same time, he had to weather some intensely personal tragedies: the loss of a 14-year-old guitar student to cancer, and then the passing of his own sister (a protracted and painful process that informed the album’s closing track, “Zen Moment”).
The end result is far-ranging but uniformly heartfelt—a milestone in Mortier’s ongoing quest to combine the lyricism of Nick Cave, David Bowie and Leonard Cohen with by the sonic power of Pink Floyd and Radiohead. A songwriter for more than 30 years, he’s released seven albums over the course of his illustrious career and mounted a full five cross-country Canadian tours. But if there was ever any risk he’d succumb to the stagnation of routine, the COVID years—and the attendant upheaval they wreaked on the basic process of making and disseminating music—took care of that. Now more on the lookout than ever for innovative ways to get his music before fresh ears, Mortier has hooked up with Dawn Wisner-Johnson and her L.A.-based company, A Matter of Music, to license his songs to films, TV and related media. Their campaign will begin to bear fruit in 2025, when a song from his fourth album, “The Only Bar,” will appear in a documentary on bartenders titled Shaken and Stirred.
So there isn’t just a dream partner waiting at the end of that midnight highway? There’s a bar too? Sounds like the ultimate payoff for years of—pardon the pun—driving ambition. Lock the doors and strap yourself in, because this is going to be the year J.P. Mortier well and truly floors it.
5 Surprising Facts About Kendrick Lamar’s ‘Good Kid, M.A.A.D City’
Few albums can claim the cultural impact and storytelling depth of Kendrick Lamar’s Good Kid, M.A.A.D City. Released on October 22, 2012, this landmark record takes listeners through a cinematic journey of Lamar’s adolescence in Compton, California. With its gripping narrative, intricate lyricism, and innovative production, the album redefined what a hip-hop record could be, cementing Lamar as one of the most compelling voices in music.
Here are 5 fascinating facts about Good Kid, M.A.A.D City that highlight its brilliance:
1. The Album Title Holds Hidden Meanings
The mysterious acronym “M.A.A.D” in the album’s title stands for “My Angry Adolescence Divided” and “My Angel’s on Angel Dust.” The latter references a personal experience where Lamar unknowingly consumed a substance laced with angel dust, a formative moment that left a lasting impression on his life and artistry. This duality reflects the album’s exploration of innocence versus harsh realities.
2. The Cover Art Tells a Personal Story
The album’s cover features a young Kendrick Lamar sitting with his uncles and grandfather, their eyes censored for privacy. Lamar’s decision to leave his own eyes uncensored signifies that the story is told through his perspective. The image also includes subtle nods to his upbringing, including a Crips gang sign displayed by one uncle and a poster featuring Lamar and his father.
3. Lady Gaga Was Originally Featured on the Album
Before “Bitch, Don’t Kill My Vibe” became a standout track, it was intended to feature Lady Gaga. Creative differences and scheduling issues ultimately prevented her version from being included. However, Gaga later released her rendition of the song, showcasing an entirely different vibe with her chorus and verse, adding another layer to the track’s history.
4. A Nod to NBA Culture
The track “Now or Never” found an unexpected home in basketball culture, becoming part of the NBA 2K14 soundtrack, thanks to LeBron James. This placement helped introduce Lamar’s music to an even broader audience and showcased the album’s ability to resonate across different mediums beyond music.
5. The Concept Was Inspired by Compton’s Reality
While Good Kid, M.A.A.D City is deeply autobiographical, it also portrays a universal narrative about trying to break free from a cycle of violence and poverty. Lamar’s decision to frame the album as a “short film” was influenced by the cinematic structure of albums like Outkast’s Aquemini and Dr. Dre’s The Chronic, blending vivid storytelling with musical cohesion.
5 Surprising Facts About Taylor Swift’s ‘Folklore’
There are albums that define moments, and then there are albums that transcend them. Taylor Swift’s Folklore falls into the latter category—a masterpiece born out of isolation that captures universal emotions, intimate stories, and an entirely new sound for the global superstar. Released as a surprise on July 24, 2020, this indie-folk marvel brought raw emotion, intricate storytelling, and a refreshing departure from her pop-heavy past. But Folklore is a timeless piece of artistry that continues to resonate with fans and critics alike.
Here are 5 surprising facts about Folklore that make this record even more fascinating:
1. “Betty” Features Hidden Connections to Taylor’s Inner Circle
The names in Folklore‘s teenage love triangle—Betty, James, and Inez—are not random. They are actually the names of the children of Taylor’s close friends Blake Lively and Ryan Reynolds. This clever nod not only added a personal touch to the album but also sparked widespread fan theories, making the song a treasure trove for Easter egg hunters.
2. Aaron Dessner’s Creative Breakthrough Came Through a Random Email
Aaron Dessner, guitarist for The National, received an out-of-the-blue email from Swift asking to collaborate. Skeptical at first, Dessner sent her an instrumental track, thinking it would take weeks to hear back. Just hours later, Swift returned with a fully written song—“Cardigan.” Their creative chemistry blossomed so quickly that Dessner ended up co-producing 11 of the 16 tracks on Folklore.
3. Swift Recorded Her Vocals in a Makeshift Home Studio
Due to the pandemic, traditional recording studios were off-limits. Undeterred, Swift turned a spare room in her Los Angeles home into a DIY studio, dubbed the “Kitty Committee.” With help from sound engineer Laura Sisk, Swift recorded all her vocals in this intimate setting, which added to the raw, heartfelt vibe of the album.
4. “The Last Great American Dynasty” Links Swift to History
The track “The Last Great American Dynasty” is based on Rebekah Harkness, a socialite who previously owned Swift’s Rhode Island home. Swift had long been fascinated by Harkness’ dramatic life story and her tumultuous relationship with the town. By weaving Harkness’ history with her own, Swift created a song that blurs the lines between past and present, fact and fiction.
5. The “Teenage Love Triangle” Was an Intentional Narrative Experiment
The trio of songs—”Cardigan,” “August,” and “Betty”—tell a single story from three perspectives: a girl reflecting on lost love, the other woman in an affair, and the boy who made the mistakes. Swift used this narrative arc to push her boundaries as a songwriter, crafting characters and timelines that added depth and layers to the album’s storytelling.
Taylor Swift’s ability to reinvent herself while staying true to her roots is unmatched, and Folklore stands as a shining example of her artistic brilliance. Whether you’re revisiting its haunting melodies or uncovering its hidden layers, one thing is certain: Folklore will be passed down, whispered around, and celebrated for generations.