![]() Tickets are issued subject to the rules and regulations of the venue.ģ. The ticket holder voluntarily agrees that the management, venue, event participants, DesignMyNight (WFL Media Ltd) and all of their respective agents, officers, directors, owners and employers are expressly released by the ticket holder from any claims arising from such causes.Ģ. The ticket holder voluntarily assumes all risks and danger incidental to the event for which the ticket is issued, whether occurring prior, during or after the event. I would pass this album up unless you’re an avid Swifty or have nothing better to listen to.1. Overall the album is a mediocre piece of work that lacks energy and imagination. version is it feels like the time and energy put into those seven songs could be better spent polishing and refining the original thirteen or, in the case of “Bigger Than the Whole Sky,” replacing a song. The thing that frustrates me with the 3 A.M. The only saving grace of this extension was “Bigger than the Whole Sky,” which was relatively catchy and had some country guitar which, unlike the majority of this album, I can respect. This left me holding back a chuckle at the absurdity of comparing such a common occurrence as a breakup to one of the deadliest conflicts in human history. One song that caught my attention was “The Great War,” in which she compares a breakup to World War I. version serves as a complete waste of time as it suffers the same affliction as the rest of the album and adds 20 lackluster minutes making the album total 1 hour and nine minutes. Edition.” Upon learning this, I was perplexed as to why you wouldn’t just release the album with all 20 songs at once so as not to waste the listener’s time staying up to hear more subpar tracks. Toward the 30-minute mark, it felt like a slog, and by the end, a second listen felt like a herculean task.Īfter the core album was released unsurprisingly, at midnight, an extended 20-song version was released three hours later, creatively titled “Midnights 3 A.M. This issue persists in the “3 A.M.” version as well, only worsened by the extended run time. ![]() ![]() While individually, these are not bad things, it combines to make the album feel slow and leaves the listener unenthused. Most, if not all, of the songs, are lower tempo and in a minor key. The album also is weighed down by the lack of energy. You have love songs like “Lavender Haze,” break up songs like “Labyrinth,” and songs that reminisce about ex-lovers like “Maroon” and “Midnight Rain.” While none of these themes are bad by themselves, Taylor Swift has been using them for years, just repackaged. While Swifties I talked to said that the album was a big shift in her style, I noticed little difference in her umpteenth stylistic shift. When it comes to the songs and their message, it feels like a rehash of the same overused motifs of Swift and pop music. The conclusion I came to was to add another name to the album to attract her fans, and even then, Taylor Swift is such a big name she wouldn’t need the added boost. Throughout the entire song, Del Ray only does backing vocals to the overpowering Swift, which leaves me puzzled as to why Swift even had Del Ray, as she adds nothing to the song. Another glaring misstep is the collaboration with Lana Del Ray. The delivery of the vulgarities made me cringe as it reminded me of a kid that just learned how to cuss, which persists throughout the album. Moving on to unnecessary cursing, the most egregious offender is “Snow on the Beach,” featuring, in the most liberal sense of the word, Lana Del Ray. While trying to keep up with current musical trends, Swift adds unappealing noise to her music that would be better off without digital enhancement. Again Swift uses deep autotune to repeat the chorus that is dwarfed by the raw versions. “Labyrinth” is another song in which offputting digitization is used to poor effect. This auto-tune chorus repeats, but the singular portion of raw vocals was by far more pleasing to the ears. This was an instant red flag as Swift is a good enough singer and doesn’t need to auto-tune. On my first listen, I was caught off guard by the jarring opening of “Midnight Rain.” The song begins with an autotuned Swift going from a hyper-ventilating-like sound to a deeper digitized sound. When I started, I was greeted by “Lavender Haze,” which is a typical pop song with a repetitive course and digital instrumentation it leaves the listener with a taste of what’s to come, which is awkward auto-tune, unnecessary cursing that feels forced, and uninteresting songs. Going into “Midnights” by Taylor Swift, I didn’t have high hopes since I am not a Swifty.
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