Wikipedia

The Black Dog (song)

This article is about the Taylor Swift song. For other songs, see Black dog (disambiguation) § Music.

"The Black Dog" is a song by the American singer-songwriter Taylor Swift for her eleventh studio album, The Tortured Poets Department (2024). She wrote the track and produced it with Jack Antonoff. A power ballad, "The Black Dog" is a post-industrial tune that starts slow and builds up with a sparse, piano–led arrangement juxtaposed by a brief dynamic shift during the chorus. Told through Swift's perspective, the lyrics use a place to describe the differences of how she and an ex-partner cope with their grief after a breakup.

"The Black Dog"
Song by Taylor Swift
from the album The Tortured Poets Department
ReleasedApril 19, 2024 (2024-04-19)
Studio
GenrePost-industrial
Length3:58
LabelRepublic
Songwriter(s)Taylor Swift
Producer(s)
Lyric video
"The Black Dog" on YouTube

"The Black Dog" was first released as a bonus track in a physical edition of The Tortured Poets Department on April 19, 2024, and then digitally as part of a double album edition, subtitled The Anthology, two hours later. A demo recording was temporarily available as a digital-edition bonus track. The song reached number 26 on the Billboard Global 200 and the top 30 of national charts in Australia, Canada, New Zealand, and the United States. It received a gold certification from the Australian Recording Industry Association in Australia.

Most critics gave "The Black Dog" positive reviews, in which several regarded it as a highlight from the double album. They found the lyricism engaging and clever and praised the intensity of both the production and Swift's vocal performance. Swift performed the song in three shows of her Eras Tour (2023–2024), as part of mashups of her other songs.

Background and production

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Taylor Swift started work on her eleventh original studio album, The Tortured Poets Department, following the completion of her previous album Midnights (2022).[1] She continued on it during the US leg of her Eras Tour in 2023, which heightened her fame while she was experiencing intense media reports on her personal life, including past romantic relationships with the English artists Joe Alwyn and Matty Healy.[1][2] Swift described the album as a "lifeline" for her and one that she "needed" to create, detailing how its development somewhat reminded her that songwriting was an integral part of her life.[3] Jack Antonoff, a regular collaborator of Swift, co-produced 16 out of the 31 tracks intended for the album.[4][5] One such track which he produced with Swift was "The Black Dog", a song that she wrote and initially named "Old Habits Die Screaming" when it was first recorded at her phone.[6][7]

The official recording of "The Black Dog" was done by the engineers Oli Jacobs and Laura Sisk at Conway Recording Studios in Los Angeles and Electric Lady Studios in New York City. Swift provided background vocals and played piano with Antonoff, who handled the programming and played the majority of the instruments: acoustic, bass, and electric guitars, drums, cello, vocoder, and multiple keyboards.[a] Sean Hutchinson played additional drums and recorded his parts with Michael Riddleberger at Hutchinson Sound Studio in Brooklyn. Bobby Hawk played strings that were recorded by Jack Manning. The track was mixed by Serban Ghenea at Mixstar Studios in Virginia Beach, with assistance from Bryce Bordone, and it was mastered by Randy Merrill and Ryan Smith.[8]

Composition

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"The Black Dog"
The production builds up in the first chorus (sampled) and briefly employs a tense shift in dynamics, crescendoing with thumping synth beats and multitracked vocal harmonies when Swift sings "Old habits die screaming".
Problems playing this file? See media help.

"The Black Dog" is a power ballad with a length of 3 minutes and 58 seconds.[9][10] It is a post-industrial tune that features a sparse arrangement led by bare piano,[11][12][10] beginning at a slow pace and building up for the rest of its length.[13][14] In an Uproxx review, Josh Kurp wrote that there were influences from Phoebe Bridgers's works because of how the song intensifies towards the end.[14] Variety's Chris Willman had a similar sentiment, saying that it continues to progressively elevate into an "emo climax".[15]

In the lyrics, Swift discovers that her phone can still track the location of an ex-partner, who forgot to disable sharing it with her.[16][17] The song is about the contrast of their griefs as a result of their breakup, which came with losing a location as well, a theme that was also explored in the fellow album track "So Long, London".[18][16] The location in question is a bar called the Black Dog, which they used to visit together and where Swift sees the ex-partner walk into.[15] In the chorus, she visualizes him at the bar attracting a woman who is too young to discern one of their favorite songs by the Starting Line playing in the background.[19][18][20] These thoughts cause a realization in Swift that leads to her heartbreak and being deceived.[21] Affected to the point of hiring a priest to get rid of her demons, she admits that she has an inability to understand how he got over her.[21][22]

At the end of the chorus, the production employs a tense shift in dynamics and crescendos when Swift sings the lyric, "Old habits die screaming", which also concludes the song altogether.[23][12][7] Instruments escalate during the moment,[24] in addition to incorporating thumping synth beats and multitracked vocal harmonies.[25][12] Critics considered the moment explosive[11][24] and identified Swift's vocals as gasping,[26] "screeching",[13] "seething tidily",[27] and "sing-shout[ing]".[16] Mary Sirosky, writing for Consequence, described it as rupturing with "energy, guitar, and drums" at maximum volume and then dissipating.[23] Commenting on the lyric, a staff member from Slant Magazine believed that it was a twist on the phrase, "Old habits die hard", and relates to the "torture" themes of the album.[12] For the Los Angeles Times' Kaitlyn Huamani, the lyric implied that Swift is having a tough time moving on from the relationship.[22]

Later in the track, Swift's pain changes into anger, wishing the ex-partner the worst time possible: "And I hope it's shitty in The Black Dog".[19][15] She also compares him to a dog with the lyric, "tail between your legs, you're leaving", which uses an idiom that expresses shame or embarrassment.[28] Allaire Nuss of Entertainment Weekly described the song as "an understated, intimate funeral march for a love long gone",[29] while Rolling Stone's Rob Sheffield wrote that it was a satirization of Swift's "post-breakup phone-stalker tendencies".[17] The music journalist Annie Zaleski said that the song deals with "the painful experience of discovering an ex has moved on with someone else and is living the life you were meant to have together".[10]

Some critics analyzed the song's lyrics in relation to its title. George Mills, a scholar in philosophy, wrote that the narrative was a "modernization of the black dog myths from folklore" and that the namesake bar indicated "the death of [Swift's] relationship".[30] In Beats Per Minute, John Wohlmacher said that her character could be the black dog from the novel series Harry Potter named Grim, a misinterpreted "dark omen" whom he likens to the narrator on whether if she is an "avenger or protector when her ex hooks up with a much younger girl".[11] "The Black Dog" also shares its name with a pub in Vauxhall, which gained public attraction from Swift's fans worldwide following its release and prompted discussions on whether the song's subject could be Alwyn or Healy.[31][32]

Release and live performances

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On February 4, 2024, Swift announced The Tortured Poets Department at the 66th Annual Grammy Awards, scheduled for release on April 19.[33] During the lead-up, four limited-time physical editions of the album became available one at a time for pre-order on Swift's website, each titled after a corresponding bonus track—the last edition had "The Black Dog" as its bonus track and title and was released alongside the standard album by Republic Records.[34][35][8] The song became available for streaming and digital download two hours later in a double album edition, subtitled The Anthology, which was surprise-released and where it begins the second part as the 17th track.[19][36] On May 16, 2024, the song's first demo recording was temporarily released on Swift's website as a bonus track on the album's digital edition.[37]

"The Black Dog" opened and peaked at number 25 on the US Billboard Hot 100.[38] The song also reached number 25 on Australia's ARIA Singles Chart and helped made Swift the artist with the most single–week entries on the chart with 29.[39][40] It received a gold certification from the Australian Recording Industry Association.[41] Elsewhere, "The Black Dog" peaked at number 26 on the Billboard Global 200[42] and debuted within the national charts of Canada (26),[43] New Zealand (26),[44] Portugal (67),[45] and Switzerland (95).[46] On other charts, the song reached Greece's International Top 100 Digital Singles chart (58),[47] Sweden's Heatseeker chart (1),[48] and the United Kingdom's audio streaming (30)[49] and sales charts (61).[50]

Swift performed "The Black Dog" live three times on piano throughout the Eras Tour in 2024 as part of mashups of her other songs. She debuted the track at a London concert on June 21, combining it with "Come Back... Be Here" (2012) and "Maroon" (2022).[51] Swift wore a long orange dress during the performance, which Mitchell Peters of Billboard thought the song's portion was wonderfully done.[51] At a Warsaw show of the tour on August 3, she sang a mashup of "The Black Dog" and "Exile" (2020), which surprised and relished the audience.[52][53] Swift once more performed the song and fused it with "Haunted" (2010) during a New Orleans tour show on October 25.[54][55] Bryan West from USA Today believed that she brought out an "emotional mashup" of both tracks,[55] while Joe Lynch of Billboard included it as one of the eight best moments from the show.[54]

Critical reception

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"The Black Dog" received positive reviews from most critics, several of whom regarded it as a highlight from the double album.[b] Kurp remarked that the track was one of Swift's best written songs,[57] while Nuss said that it was among the double album tracks that deserved to be within the higher ranks of her catalog.[29] For Wilson, it was one of the "worthwhile" cuts from The Anthology.[16] "The Black Dog" was included in rankings of the double album's tracks,[21][24][13] Swift's songs,[15][58][17] her finest breakup tracks,[59] songs produced by Antonoff,[23] and the two's best collaborations.[12]

Many critics believed that the lyricism was entrancing and clever.[c] Writing for Billboard Philippines, Gabriel Saulog selected the song as one of the double album tracks that were triumphant in unveiling the schemes of Swift's mind and exemplified her known expertise in songwriting.[61] Tyler Foggatt from The New Yorker chose "The Black Dog" amongst her "most quietly devastating" tracks and called it petty and egotistical "in the best way" as well as a good song.[62] In the view of NME's Hannah Mylrea, "The Black Dog" was one of the double album tracks that delivered Swift's "most searing songwriting".[25] Similar praise was also given to the concept: Sheffield deemed it a "classic Nashville-worthy premise",[20] Foggatt considered it a remarkably simple one that could make someone mad,[62] and Jason Lipshutz from Billboard noted its universality: "who hasn't wondered if they can trust their own memories, once someone else breaks that trust?"[21] For Willman, he believed that the concept would immediately engage fans and added that the track was a great song regarding people's experiences with other songs.[15] On the other hand, Paste's Grace Byron dismissed the writing as "Tumblr superscript".[63]

The production and Swift's vocal performance were commended for their intensity.[d] Sirosky considered the momentary moments of change in volume outstanding and the song a "welcome addition" to Swift's piano ballads as well.[23] Jonathan Keefe of Slant Magazine wrote that it showcased an effective technique of how her pitch or wording are controlled to highlight altered idioms, thinking that it enhanced parts of the writing quality.[64] There were discussions about "The Black Dog" and the aspects in relation to the double album. Describing the track as angry and vindictive, The Daily Telegraph's Neil McCormick said that it was a "very strong" start for The Anthology and had a massive sound that could fit within the standard edition.[65] Sharpe favored the song over the opening track "Fortnight" and attributed that to the chorus's "fleeting burst of action", which she found alongside Swift's late emotive gasping memorable enough to make the song one of the double album's best tracks.[24]

Various critics also praised other aspects of the track. Ryan Fish of The Hollywood Reporter thought the chorus was huge and roaring and one that would relish fans live.[13] Nate Jones from Vulture had similar opinions on its hook and believed that the song contained an enjoyable "throwback vibe".[58] McCormick deemed the hook "punchy",[65] while Sirosky opined that the chorus melody was in "classic Swift earworm style".[23] In Stereogum, Tom Breihan wrote that the production style was reminiscent of immediate predecessors and well suited for Swift's "old-school Nashville-honed storytelling chops".[66]

Personnel

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Credits are adapted from the liner notes of The Tortured Poets Department ("The Black Dog" physical edition).[8]

Charts

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Chart performance for "The Black Dog"
Chart (2024) Peak
position
Australia (ARIA)[39] 25
Canada (Canadian Hot 100)[43] 26
Global 200 (Billboard)[42] 26
Greece International (IFPI)[47] 58
New Zealand (Recorded Music NZ)[44] 26
Portugal (AFP)[45] 67
Sweden Heatseeker (Sverigetopplistan)[48] 1
Swiss Streaming (Schweizer Hitparade)[46] 95
UK Singles Sales (OCC)[50] 60
UK Streaming (OCC)[49] 31
US Billboard Hot 100[38] 25

Certification

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Certification for "The Black Dog"
Region Certification Certified units/sales
Australia (ARIA)[41] Gold 35,000‡

‡ Sales+streaming figures based on certification alone.

Notes

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  1. ^ The keyboards that Antonoff played were the Mellotron, the Rhodes piano, and synthesizers (Juno 6, Polysix, M1).[8]
  2. ^ Attributed to Callie Ahlgrim of Business Insider,[56] Josh Kurp of Uproxx,[14] Kaitlyn Huamani of the Los Angeles Times,[22] Lynn Sharpe of Screen Rant,[24] and Rob Sheffield of Rolling Stone[20]
  3. ^ Attributed to Callie Ahlgrim of Business Insider,[18][59] Chris Richards of The Washington Post,[27] Kaitlyn Huamani of the Los Angeles Times,[22] Lauren Webb of Clash,[60] Rob Sheffield of Rolling Stone,[17] and a staff member of Slant Magazine[12]
  4. ^ Attributed to Chris Willman of Variety,[15] Josh Kurp of Uproxx,[14] Mary Kate Carr of The A.V. Club,[26] and a staff member of Slant Magazine[12]

References

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  2. ^ Sisario, Ben (April 19, 2024). "Taylor Swift's 'Poets' Arrives with a Promotional Blitz (and a Second LP)". The New York Times. Archived from the original on April 22, 2024. Retrieved November 5, 2024.
  3. ^ Wilkes, Emma (February 19, 2024). "Taylor Swift Says Writing New Album 'The Tortured Poets Department' Was A 'Lifeline'". NME. Archived from the original on May 12, 2024. Retrieved November 5, 2024.
  4. ^ II, Moises Mendez (April 19, 2024). "What to Know About Taylor Swift's Collaborators on The Tortured Poets Department". Time. Archived from the original on December 4, 2024. Retrieved November 26, 2024.
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  66. ^ Breihan, Tom (April 19, 2024). "Premature Evaluation: Taylor Swift The Tortured Poets Department". Stereogum. Archived from the original on April 19, 2024. Retrieved June 27, 2024.

Sources

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