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Reputation (album)
Reputation (album)
Reputation (album)
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Reputation
Cover artwork of Reputation by Taylor Swift, depicting a black-and-white photo of Swift with newspaper-like typeface
Studio album by
Taylor Swift
ReleasedNovember 10, 2017 (2017-11-10)
Studio
GenreElectropop
Length55:45
LabelBig Machine
Producer
Taylor Swift chronology
1989
(2014) 		Reputation
(2017) 		Lover
(2019)
Singles from Reputation
  1. "Look What You Made Me Do"
    Released: August 24, 2017
  2. "...Ready for It?"
    Released: October 24, 2017
  3. "End Game"
    Released: November 14, 2017
  4. "New Year's Day"
    Released: November 27, 2017
  5. "Delicate"
    Released: March 12, 2018
  6. "Getaway Car"
    Released: September 7, 2018

Reputation (stylized in all lowercase) is the sixth studio album by the American singer-songwriter Taylor Swift. It was released on November 10, 2017, through Big Machine Records. Swift conceived the album amidst media scrutiny on her personal life that blemished her once-wholesome "America's Sweetheart" image.

Swift employed an autobiographical songwriting approach on Reputation, which references her romantic relationships and celebrity disputes. Its songs form a linear narrative of a narrator seeking vengeance against wrongdoers but ultimately finding solace in a blossoming love. Swift produced the album with Jack Antonoff, Max Martin, and Shellback, to create an electropop record with elements of EDM, hip-hop, R&B, and trap. Its maximalist, electronic arrangements are characterized by abrupt dynamic shifts, insistent programmed drum machines, pulsating synthesizers and bass, and manipulated vocals.

Before Reputation's release, Swift cleared out her website and social media accounts, which generated widespread media attention. The lead single "Look What You Made Me Do" peaked at number one on the Billboard Hot 100, the single "Delicate" topped multiple US airplay charts, and the Reputation Stadium Tour (2018) marked Swift's first all-stadium concert tour. In the United States, Reputation was Swift's fourth consecutive album to sell one million first-week copies, spent four weeks atop the Billboard 200, and was certified seven-times platinum by the Recording Industry Association of America. It topped charts and received platinum certifications in Australia, Austria, Belgium, New Zealand, and the United Kingdom.

A divisive album upon release, Reputation was praised by critics for its intimate songwriting about love but criticized for its production and references to fame and celebrity, which were viewed as harsh and derivative. Some media publications deemed the album disappointing in the context of Swift's celebrity, the entertainment industry, and the political landscape of the time. Retrospective reviews have opined that the initial reception was affected by the negative press and reevaluated Reputation as a work of Swift's artistic experimentation and evolution. Reputation was nominated for Best Pop Vocal Album at the 61st Annual Grammy Awards, and it was listed on Slant Magazine's list of the best albums of the 2010s decade.

Background

[edit]

Taylor Swift marketеd 1989, her fifth studio album, as her first "official pop album" that abandoned the country music stylings she had been known for.[1] Released on October 27, 2014, the album has a synth-pop production characterized by dense synthesizers, programmed drum machines, and electronically manipulated vocals.[2] 1989's huge commercial success turned Swift into a pop icon;[3][4] it spent 11 weeks at number one and a full year in the top 10 on the Billboard 200, and three of its singles reached number one on the Billboard Hot 100.[5][6]

Taylor Swift singing on a microphone, dressed in a white bodysuit
The controversies that Swift experienced in 2015 and 2016 inspired Reputation.

Swift's heightened fame was accompanied by increasing media scrutiny; British GQ wrote that she became "a lightning rod for accelerating cultural anxieties about race, gender and privilege".[7] During promotion of 1989, Swift proclaimed her feminist identity and appeared in public with a "squad" of female celebrity friends including fashion models, actresses, and singers, which critics took issues with as an elitist group that diminished her relatability.[4][8] Her romantic relationships with the Scottish DJ Calvin Harris and the English actor Tom Hiddleston were publicized in tabloid media, as was her feud with the rapper Kanye West and the media personality Kim Kardashian over West's song "Famous", in which he claims he made Swift a success ("I made that bitch famous").[9][10] Although Swift said she never consented to the lyric, Kardashian released a phone recording in which Swift consented to another portion of the song.[11] The phone call was revealed to have been purposely edited after the transcript leaked in 2020.[12]

The incidents, especially West–Kardashian controversy, turned Swift's media image into that of a fake and calculating woman, as opposed to an authentic and down-to-earth "America's Sweetheart" image that she had carefully created.[8][13][14] Swift became a subject of an "IsOverParty" hashtag on Twitter, where her detractors denounced her as a "snake", influenced by Kardashian.[4][14][15] Her publicity was so negative that her victory in a sexual assault trial had minimal impact in improving her image, despite it being part of a wider, ongoing public debate about sexual misconduct in the entertainment industry.[8][16] Swift withdrew from social media and press interviews despite a large following[17] and went into a hiatus because she felt "people might need a break from [her]".[18]

Recording and conception

[edit]
Jack Antonoff playing a guitar
Jack Antonoff co-produced six Reputation tracks; his recording sessions with Swift mostly took place at his Brooklyn home studio.

During seclusion from public appearances, Swift wrote Reputation as a "defense mechanism" against the rampant media scrutiny targeting her and a means to revamp her state of mind.[19][20] She said in a 2019 Rolling Stone interview that she followed the songwriting for her 2014 single "Blank Space", which satirizes the criticism targeting her for dating "too many people" in her twenties, and wrote Reputation from the perspective of a character that others believed her to be.[21] In a 2023 Time interview, she described the album's creation as "a goth-punk moment of female rage at being gaslit by an entire social structure".[22] Although the media gossip was a major inspiration, recurring romantic themes of love and friendship that had been dominant in Swift's songwriting remained intact.[23] She recalled that amidst the "battle raging on" outside, she found solace in quiet moments with her loved ones and began creating a newfound private life on her own terms "for the first time" since starting her career.[11]

Swift produced Reputation with two teams: one with Jack Antonoff and the other with Max Martin and Shellback; she had worked with all three on 1989. By engaging a smaller production group on Reputation than on 1989, she envisioned that the album would be more coherent but still "versatile enough".[24] She executive produced the album and co-wrote all of its 15 tracks.[25][26] Martin and Shellback co-wrote and produced nine, and Antonoff co-wrote and co-produced the remaining six, all of which were co-produced by Swift.[25][27] Ali Payami, Oscar Görres, and Oscar Holter each co-wrote and co-produced a track with Martin and Shellback: "...Ready for It?", "So It Goes...", and "Dancing with Our Hands Tied".[26][27] The track "End Game" features songwriting credits and guest appearances from the English singer-songwriter Ed Sheeran and the American rapper Future.[28]

Recording sessions with Antonoff mostly took place at his home studio in Brooklyn, with several trips to Atlanta and California for him to incorporate ideas from other producers.[29][30] He wanted Swift to capture her emotions at a particular time when "you can feel like you can conquer the world, or you can feel like the biggest piece of garbage that ever existed", resulting in a "very intense" record.[30] As Swift wanted to record the album in secrecy, Antonoff kept his studio computer offline to prevent a possible internet leak and deleted the trials once the mixing and mastering finalized.[29]

Musical styles

[edit]

Primarily an electropop album,[a] Reputation incorporates a heavy, maximalist electronic production with EDM instrumentation and rhythms.[b] The melodies are characterized by abrupt dynamic shifts,[36] propulsive bass notes,[37] pulsating synthesizers, and insistent programmed drum machines.[38][39] Pitchfork's Jamieson Cox described the instrumentation as "hair-raising bass drops, vacuum-cleaner synths [...], stuttering trap percussion, cyborg backing choirs".[34] Swift's voice is heavily manipulated, either distorted or multitracked.[33] Critics found Reputation sonically heavier, louder, and darker than its predecessor 1989's bright synth-pop,[34][40] with Neil McCormick from The Daily Telegraph deeming it "a big, brash, all-guns-blazing blast of weaponised pop".[39] Swift associated Reputation's sound with imagery of "nighttime cityscape ... old warehouse buildings that had been deserted and factory spaces".[11]

"Don't Blame Me"
"Don't Blame Me" has a gothic, gospel-influenced production with aggressive synthesizers and dubstep beats.
Problems playing this file? See media help.

The album's first half, made up of mostly tracks produced by Martin and Shellback, is comparatively heavier in sound.[41][42] The first four tracks—"...Ready for It?", "End Game", "I Did Something Bad", "Don't Blame Me"—are particularly aggressive.[43] "...Ready for It?" has an industrial production backed by a thumping bassline,[44][45] "End Game" features sputtering trap beats,[46] "I Did Something Bad" is punctuated by a dubstep drop,[45] and "Don't Blame Me" has a gothic, gospel-oriented soundscape drenched in synthesizers, dubstep beats, and vocal harmonization.[c] "Look What You Made Me Do" uses modular synthesizers, drums, and guitars in the second pre-chorus;[29] it incorporates an interpolation of "I'm Too Sexy" (1991) by the English band Right Said Fred.[49] The power ballad "So It Goes..."[50] has an atmospheric trap-pop production.[34][51] "King of My Heart" features surging keyboard instruments in the pre-chorus and thumping drums in the post-chorus,[24][52] and "Dancing with Our Hands Tied" is instrumented with propelling beats and an EDM refrain.[40][53]

The second half, mostly driven by Antonoff's 1980s-synth-pop production characterized by pulsing synthesizers and upbeat refrains,[41][54] brings forth a somewhat softer, more emotional sound.[55] Jon Caramanica of The New York Times described the change of tone: "in the beginning, [Swift] is indignant and barbed, but by the end she's practically cooing."[42] "Dress" features a sultry production with stuttering beats, syncopated phrasings, swirling synthesizers, and a refrain containing falsetto vocals.[51][56] "Getaway Car" and "Call It What You Want" are two atmospheric synth-pop tracks.[57][58] The latter, produced with an Akai MPC and strings simulated by a Yamaha DX7 synthesizer,[59] incorporates a subdued, trap-R&B production.[60][61] The closing track, the piano ballad "New Year's Day", is the album's only acoustic song;[42] it was recorded on an acoustic piano in "scratch takes" that do not filter unwanted sounds from the outer environment.[30]

"Delicate"
Reputation incorporates influences of many urban styles—"Delicate" incorporates a Caribbean-inflected sound, tropical house beats, and vocals processed with a vocoder, an effect that recurs throughout the album.
Problems playing this file? See media help.

Influences of many urban genres,[62] most prominently hip-hop, trap, R&B,[48][53] and progressive R&B,[36] and other subgenres including grime, tropical house, and Miami bass, coalesce on Reputation.[d] According to Caramanica, its sound is "soft-core pop-R&B" and the musical influences are rooted in black music but Swift "[softens] them enough to where [she] can credibly attempt them".[42] Specifically, the drum patterns embrace trap influences and push Swift's vocals toward hip-hop-and-R&B-oriented cadences, showcased through a half-spoken, half-sung delivery.[52][66][67] Cox found this influence to strip her vocals off their expressiveness and give them a conversational quality.[34] Other urban influences are on such tracks as "Delicate", which incorporate a Caribbean-inflected sound and tropical house beats;[43][62] "Gorgeous", which features hip-hop-trademark 808 drums and rhythms;[68] and "Dress", an R&B slow jam.[56] On tracks such as "Delicate", "Getaway Car", "King of My Heart", her vocals are processed with a vocoder,[51] which NPR's Ann Powers attributed to the influence of rappers and R&B artists.[63]

Themes and lyrics

[edit]

Swift said that Reputation consists of a linear timeline: it begins with how she felt when she started working on the album and transitions to how she felt by the time she completed it.[24][69] Inspired by the fantasy series Game of Thrones, she split the album into two sides; one contains songs about vengeance and drama, and the other about finding love, friendship, and "something sacred throughout all the battle cries".[70] The series' characters and little hints to foreshadow the story lines, which Swift considered "cryptic", prompted her to finesse her songwriting and include "cryptic" messages through which she hoped to communicate with fans.[70] She identified Game of Thrones influences for certain songs: "I Did Something Bad" was inspired by Sansa and Arya Stark's plot to kill Littlefinger, "Look What You Made Me Do" by Arya Stark's "kill list", and "King of My Heart" by Daenerys Targaryen and Khal Drogo's romance.[70]

[Reputation] was interesting because I'd never before had an album that wasn't fully understood until it was seen live. When it first came out everyone thought it was just going to be angry; upon listening to the whole thing they realized it's actually about love and friendship, and finding out what your priorities are.

— Swift, on Reputation with Entertainment Weekly, May 2019[23]

Steven Hyden considered Reputation a concept album about Swift's celebrity and said it encapsulates her attention to the conversation about her.[71] It references alcohol and sex more than any of Swift's previous records,[42][72][73] which The New York Times' Lindsay Zoladz considered her gradual and deliberate decision at 27 years old to abandon her prior youthful and innocent music and image, unlike former teenage female singers who provocatively publicize their sudden "loss of innocence".[74] Despite the first few tracks about outright vengeance and anger, much of Reputation is about romantic themes of finding love, intimacy, and expressing one's vulnerability when one thinks they might have suffered too much to love again.[e] For Rob Sheffield, the album is a song cycle about how one stops chasing romance and defining their life based on others' perspectives.[57] Some critics interpreted the overarching narrative as a love story chronicling the burgeoning days, fallout, and recovery,[f] which Swift corroborated in a 2019 Rolling Stone interview: "The one-two punch, bait-and-switch of Reputation is that it was actually [...] a love story in amongst chaos."[11]

Swift's image as a woman with serial romantic relationships and her defiant attitude against this reputation are recurring themes on the first tracks.[45] Opener "...Ready for It?" has lyrics about falling in love with a new partner.[76] Inspired by the novel Crime and Punishment by Fyodor Dostoevsky, it incorporates a criminal metaphor that recurs on other tracks. Swift said its mentions of bank heists, robbers, and thieves, a "twisted" but "interesting" way to depict "finding your partner in crime".[24] In "End Game", Swift, Future, and Sheeran rap and sing about finding true love in spite of the gossip surrounding their perceived images.[77] "I Did Something Bad" is narrated from the perspective of a female character who manipulates men[53] and "Don't Blame Me" compares a love that "makes [her] crazy" to a drug addiction.[47] Designated by Swift as Reputation's "first point of vulnerability", "Delicate" is where the narrator begins to worry if her tarnished reputation could affect a new romance.[24] In the song, she wonders because "[her] reputation has never been worse", the love interest must love her for herself.[27][45] The album continues with "Look What You Made Me Do", which Swift initially wrote as a poem about her realizing she "couldn't trust certain people".[24] She indicated the most important lyrics of the song as, "Oh, I'm sorry, the old Taylor can't come to the phone right now. Why? Oh, 'cause she's dead",[24] which reference the phone recording between her and West that Kardashian had released.[11]

In "So It Goes...", which features sexual imagery of smeared lipstick on her lover's face and leaving scratches on his back,[48][63] the narrator details how he helps her get out of her fixations and promises she will "do bad things with [him]" despite not being a "bad girl".[45] "Gorgeous" has playful lyrics about newfound romantic attraction, where the narrator feels tempted to cheat on an existing boyfriend for another.[68] It is followed by "Getaway Car", which uses crime scene escape imagery and a Bonnie and Clyde reference to tell the story of how the narrator leaves her former lover in a hotel room and escapes in the getaway car with a new lover.[45][78] "King of My Heart" is a straightforward love song in which the narrator proclaims herself as her lover's "American queen" and how the couple rules their "kingdom inside [her] room".[45][72][73] Swift structured the song such that each of the sections (verse, pre-chorus, chorus) depicts a separate phase of a relationship, and they altogether form a complete love story.[24] The next track, "Dancing With Our Hands Tied", describes a narrator's reflection on a past relationship when she was 25 years old and how the lover turns her bed "into a sacred oasis".[34][79]

In "Dress", which features overtly sexual lyrics, the narrator claims that she "only bought this dress" to be taken off by her lover and how she does not "want [them] like a best friend".[56][73] "This Is Why We Can't Have Nice Things" was inspired by Swift's observation of how people take things for granted.[24] It references her 4th of July parties, filled with champagne and having her "feeling so Gatsby for that whole year".[27][79] In the track, the narrator calls out her enemies and former friends.[43] When she tries to get diplomatic with them ("forgiveness is a nice thing to do"), she laughs at the idea.[45] The two closing tracks, "Call It What You Want" and "New Year's Day", summarize Swift's state of mind after she learned how to welcome and prioritize certain things in her life.[24] In "Call It What You Want", the narrator accepts that her reputation might be unredeemable ("They took the crown but it's alright")[35] and meditates on the transformative power of her relationship ("My baby's fly like a jetstream, high above the whole scene").[45] The closing track, "New Year's Day", sees the narrator and her lover cleaning up after a New Year's party.[79] On the inspiration, Swift explained that although kissing someone on New Year's Eve is a romantic idea, having someone by one's side the morning after "to give you Advil and clean up the house" is even more so.[24]

Release

[edit]

Marketing

[edit]

On August 18, 2017, Swift blanked out all of her social media accounts,[80] which prompted media speculation on new music.[81] In the following days, she uploaded silent short videos of CGI snakes onto social media, which attracted widespread press attention.[81][82][83] Imagery of snakes was inspired by the West–Kardashian controversy and featured prominently in the album's promotional campaign.[84] On August 23, she announced on Instagram the title Reputation and released the cover artwork.[85] Photographed by Mert and Marcus,[86] the cover is a black-and-white photograph of an expressionless Swift in slicked-back hair, a loose-fitting grey sweatshirt with a zig-zag stitch on the right shoulder, and a choker necklace.[87] Her name is printed multiple times over one side of her face, in a typeface resembling that used in newspapers.[88] Media outlets interpreted the design as a mockery at the media scrutiny.[g] The cover inspired many internet memes and was listed among the worst album covers of 2017 by Billboard and Exclaim!.[92] The latter dismissed it as a "packaging for a sickly sweet, heavily discounted celebrity fragrance you'd find on the back shelf at Shoppers Drug Mart".[93]

Reputation's lead single, "Look What You Made Me Do", was released on August 24.[94] The single peaked at number one on the Billboard Hot 100 in its second week of charting, with the biggest single-week sales and streaming figures of 2017 in the United States,[95] and was Swift's first number one on the UK Singles Chart;[96] its music video broke the record for the most 24-hour views on YouTube.[97] Shortly after the single's release, UPS announced a partnership with Swift, which included Reputation-branded trucks and award-winning contests promoting the album across US cities.[98] Other corporate tie-ins were a Ticketmaster partnership for a concert tour; an AT&T deal for a behind-the-scenes series chronicling the making of Reputation; and a Target partnership for two deluxe album editions, each featuring an exclusive magazine with poetry, paintings, handwritten lyrics, and behind-the-scenes photography.[99][100] Swift collaborated with ESPN to preview the second single, "...Ready for It?", during a college football match on September 2;[101] it opened at number four on the Billboard Hot 100.[102] Kate Knibbs of The Ringer labelled the partnerships as "maximum commercialization" and wrote, "If [Swift] was going to be a snake, she was going to be an ultracapitalist snake."[16]

Prior to the album's release, the tracks "Gorgeous" and "Call It What You Want" were released for download and streaming as promotional singles,[103] and the track "New Year's Day" premiered during the broadcast of an episode of ABC's Scandal.[104] Reputation was released in various territories on digital and physical formats on November 10, 2017, by Big Machine Records.[105][106] Although the streaming provider Spotify initially promoted Reputation on its playlists and commercial billboards, Swift and Big Machine kept the album off streaming platforms until December 1.[106][107] Throughout late 2017 and early 2018, a string of singles were released to support the album: "End Game" was released to French radio by Mercury Records on November 14,[108] "New Year's Day" impacted US country radio on November 27,[109] and "Delicate" was released to US pop radio on March 12.[110] The last of which was the album's most successful radio single,[6] peaking atop three Billboard airplay charts: Pop Songs, Adult Pop Songs, and Adult Contemporary.[111]

Swift began re-recording her first six studio albums, including Reputation, in November 2020. This decision followed a 2019 dispute between Swift and the talent manager Scooter Braun, who acquired Big Machine Records and the masters of Swift's albums.[112] Re-recording them would enable her to have full licensing rights of her songs for commercial use.[113] On May 30, 2025, the dispute ended with Swift acquiring the masters to those albums;[114] the re-recorded version of Reputation had not been completed by that point.[115]

Performances

[edit]
Taylor Swift performing while dressed in a black dress
Swift performing at the Reputation Stadium Tour in 2018

Although Swift had actively promoted albums with extensive press interviews and television appearances, she opted out of such a campaign for Reputation.[116] She instead held exclusive secret album-listening sessions within one month in advance for fans selected from social media by herself, hosting them at her homes in Rhode Island, Los Angeles, London, and Nashville.[116] The secret sessions were reserved for 500 fans in total; behind-the-scenes footage was released on Good Morning America on November 7, 2017.[104] She appeared on the cover for British Vogue, for which she appointed her own photographers and published a self-written poem instead of giving an interview.[117] In an interview with Zane Lowe for Apple Music in May 2019, Swift said she turned down interviews because she felt no need to explain the album and used music as the only medium to convey her thoughts and feelings.[118] On the title's all lowercase styling, she said it was because the album "wasn't unapologetically commercial"—that it "took the most amount of explanation, and yet it's the one [she] didn't talk about".[11]

Within Reputation's first release week, Swift performed on Saturday Night Live ("...Ready for It?", "Call It What You Want") and The Tonight Show Starring Jimmy Fallon ("New Year's Day").[119] She embarked on the Reputation Stadium Tour, which kicked off on May 8, 2018, in Glendale, Arizona and featured supporting acts such as Charli XCX and Camila Cabello.[120] The tour's visual and stage settings incorporated prominent snakes imagery.[121] It encompassed 53 shows across four continents and wrapped up on November 21, 2018, in Tokyo, Japan.[122] The track "Getaway Car" was released as an Australasia-exclusive single to support the Oceanic leg of the Reputation tour in October and November.[123] Earning $266.1 million, the 38-show North American leg surpassed the Rolling Stones' 70-show US leg of their A Bigger Bang Tour ($245 million; 2005–2007) to become the all-time highest-grossing North American tour.[124] In total, the Reputation Stadium Tour grossed $345.7 million, according to Billboard Boxscore.[125] The second show at AT&T Stadium in Arlington, Texas, was recorded and released as a Netflix exclusive on December 31, 2018.[121]

Commercial performance

[edit]

In the United States, Reputation sold 700,000 copies after one day of availability[126] and 1.05 million after four days.[127] It opened at number one on the Billboard 200 with first-week figures of 1.238 million album-equivalent units that consisted of 1.216 million pure sales, a figure that was higher than all other albums on the chart that week combined.[128] In doing so, it immediately became the best-selling album of 2017 in the United States.[129][130] Reputation made Swift the first artist to have four albums each sell more than a million copies within one week since Nielsen SoundScan began tracking sales in 1991.[131] The strong sales of Reputation contributed to an ongoing debate about the impact of streaming on album sales,[106][128] although it was eventually made available for streaming three weeks after its initial release.[132] The album spent four non-consecutive weeks at number one on the Billboard 200[133] and topped the 2018 Billboard 200 Year-End chart.[134] It had sold 2.478 million copies in the United States by January 2024.[135] After Swift's acquisition of her Big Machine album masters, including Reputation, the album re-entered the Billboard 200 top five in May 2025, having last appeared in the top 10 in August 2018.[136] The Recording Industry Association of America in September 2025 certified the album seven-times platinum for surpassing seven million units.[137]

Reputation sold two million copies worldwide within one week of release[128] and was the world's second-best-selling album of 2017 (behind Ed Sheeran's ÷), with 4.5 million copies sold.[138] In the English-speaking world, Reputation reached number one and was certified multi-platinum in Australia (five-times platinum),[139][140] New Zealand (six-times platinum),[141][142] and the United Kingdom (triple platinum),[143][144] and it also reached number one in Ireland[145] and Canada.[146] In mainland Europe, the album peaked atop the charts in Austria, the Netherlands, Norway, Portugal, Greece, Spain, and Switzerland.[141][147] It was certified platinum in Austria,[148] Belgium,[149] France,[150] Germany,[151] Italy,[152] and Sweden;[153] and double platinum in Denmark[154] and Poland.[155] In Asia–Pacific, Reputation was certified platinum in Singapore[156] and gold in Japan,[157] and it became one of the best-selling digital albums in China with one million copies sold as of September 2019.[158]

Critical reception

[edit]
Reputation ratings
Contemporaneous reviews
Aggregate scores
SourceRating
AnyDecentMusic?6.6/10[159]
Metacritic71/100[160]
Review scores
SourceRating
AllMusicStarStarStar[161]
The A.V. ClubB[65]
The Daily TelegraphStarStarStarStar[39]
Entertainment WeeklyB[37]
The GuardianStarStarStarStar[75]
NMEStarStarStarStar[40]
Pitchfork6.5/10[34]
QStarStarStar[162]
Rolling StoneStarStarStarStar[57]
Slant MagazineStarStarStarStar[64]

Upon its release, Reputation received positive but often polarized reviews from critics. The album earned a weighted average score of 71 out of 100 on Metacritic, based on 28 reported reviews.[160][163]

Many critics praised Swift's personal lyricism and songwriting depicting vulnerability and intimacy despite the first impressions of a vindictive record.[164][165] Reviews by Slant Magazine's Sal Cinquemani,[64] McCormick,[39] and Sheffield appreciated Reputation for exploring vulnerable sentiments beneath the surface of fame and celebrity.[57] Petridis found the celebrity-inspired, dramatic themes tiring, but lauded the album as "a masterclass in pop songwriting" about love and romance.[75] The Independent's Roisin O'Connor and Vulture's Craig Jenkins both regarded Reputation as a showcase of Swift's both vindictive and vulnerable sides;[52] the former lauded it for displaying Swift's talents capturing emotional details "that you as a listener cannot".[41] In The A.V. Club, Clayton Purdom appreciated how, despite Swift's embrace of modern styles, her lyrical narrative retains its distinctive romantic nature since her 2008 single, "Love Story".[65]

The production received mixed reviews. In an outright negative review, Geoff Nelson of Consequence gave the album a D+ rating and called it a "bloated, moving disaster".[166] For Nelson, the album found Swift adopting black-music styles and African-American Vernacular English, a "reflection of a wider cultural problem".[166] Some reviewers agreed that Reputation's black-music influences were controversial and a probable case of cultural appropriation,[h] but Caramanica welcomed them as a sign of Swift embracing modern pop-music trends.[42]

Cinquemani called it a good pop album but found it blemished at times by "tired, repetitive EDM tricks",[64] and Pitchfork's Jamieson Cox lamented how Swift's lyrical craftsmanship was overshadowed by what he deemed a conventional and unoriginal production.[34] The Boston Globe's Terrence Cawley and Billboard's Jason Lipshutz identified some stylistics missteps but said the experiments were worthwhile and made an enjoyable listen.[50][35] The Associated Press's Meskin Fekadu[55] and Variety's Chris Willman hailed Reputation as an outstanding pop album; the latter lauded the balance between Swift's singer-songwriter lyrical strengths and the "up-to-the-second rhythmic pop" of mainstream music.[27]

Accolades

[edit]

Reputation featured on several publications' lists of the best albums of 2017, ranking on such lists by Time (fifth),[167] Rolling Stone (seventh),[168] Slant Magazine (17th),[169] The Independent (19),[170] Complex (26th),[171] NME (31st),[172] and Spin (48th).[173] On the mass critics' poll Pazz & Jop coordinated by The Village Voice, the album ranked at number 71 out of the 100 albums voted as the best of 2017.[174] On individual critics' lists, it appeared on those by Sheffield (second),[175] Caramanica (fifth),[176] and Mikael Wood of the Los Angeles Times (unranked).[177] On Slant Magazine's list of the best 2010s-decade album published in 2019, Reputation ranked at number 88.[178]

At industry awards held in 2018, the album won an American Music Award for Favorite Pop/Rock Album,[179] a Billboard Music Award for Top Selling Album,[180] a Libera Award for Independent Impact Album,[181] and a Japan Gold Disc Award for Best 3 Albums (Western).[182] It received nominations including an ARIA Music Award nomination for Best International Artist,[183] a Billboard Music Award nomination for Top Billboard 200 Album,[180] and a Juno Award nomination for International Album of the Year.[184] At the 61st Annual Grammy Awards, Reputation was nominated for Best Pop Vocal Album,[185] with several publications viewing the lack of a nomination for Album of the Year or any other category as being a snub.[186][187][188] The album's packaging and design won two awards from the American Advertising Federation.[189]

Legacy

[edit]
[edit]

Released amidst negative press and after Swift's hiatus, Reputation was regarded by several journalists as her comeback.[89][190] Some critics interpreted the release during the Donald Trump presidency as a political statement—whereas many celebrities voiced their opposition to Trump's controversial policies, Swift's inaction during the 2016 presidential election was highlighted in the press as a shocking phenomenon.[191][192] Detractors denounced her as aloof and tone-deaf to contemporary political landscape,[10][192] with a Guardian editorial dubbing her an "envoy" for Trump's values.[193] The Guardian's Laura Snapes observed Swift's silence, coupled with the celebrity controversies, considerably damaged her status as a "peerless pop princess".[194]

According to Hyden, the album was released amidst a "moral apocalypse" in the entertainment industry, when sexual assault against women was being "re-contextualized in the popular consciousness as expressions of dominance and humiliation".[36] Nonetheless, her inclusion as one of the "Silence Breakers"—a group of six women who publicly spoke out against sexual misconduct—for the cover of Time 2017's People of the Year was criticized by some who disdained her "spineless feminism and political passivity".[117] Some others regarded Reputation as Swift's first commercial disappointment, partly because of its diminished success next to its predecessor, 1989.[192][195] In defense of Swift, the academic and journalist Jane Martinson said that Swift's disengagement from the press represented her efforts to control the narrative and was an empowering move for young women.[117]

Other opinions observed how the public backlash during promotion of Reputation contributed to Swift's political engagements after 2018; she publicly endorsed political candidates, supported LGBT rights, and criticized systemic racism.[16][192][196] The promotional campaign of Reputation, specifically Swift's use of social media, was subject of an academic paper analyzing popular music marketing by Linda Ryan Bengtsson and Jessica Edlom, two media and communications scholars. They argued that Reputation was the "most adequate" release in terms of marketing, driven by fan-oriented social media promotion and Swift's long-standing relationship with her supporters.[81] Her "social media blackout" set a precedent for other pop stars to emulate.[197] Commenting on the album's rollout cycle, the music scholar Jadey O'Regan remarked how Swift used "the art of pop in the best way" for utilizing "the way she's been stereotyped in popular culture".[198] The film director Jennifer Kaytin Robinson cited Reputation as an inspiration for her 2022 teen comedy film Do Revenge.[199]

Critical reevaluation

[edit]

Critics have regarded Reputation as an album that stood the test of time.[192][200][201] Billboard's Andrew Unterberger in August 2019 wrote: "With a couple years' clarity, removed from all the backlash against Swift for her perceived insincerity (and political neutrality), we can now look back on Reputation for what it actually was: a very good pop album that was very successful."[195] Mary Siroky of Consequence observed how time proved it to be an authentic record, contrary to some initial reviews claiming otherwise[202] and, as part of a 2022 piece titled "What Were We Thinking? 15 Times We Were Wrong", opined that the publication's initial review was influenced by Swift's negative press and its score should have been higher.[200] Powers in 2024 described Reputation as an album "once-scorned, now revered".[203]

Joe Lynch of Billboard attributed the initial criticism to the general preconception disregarding lyrics in synthesizer-based arrangements; "Which is a shame, because on Reputation, Swift's words deliver vivid Polaroid shots directly to your brain."[204] Rolling Stone's Kara Voght said the album was Swift's first to "truly be in conversation with its pop contemporaries" and identified some of its songs as her artistic heights.[10] For some critics, though Reputation is not as accomplished as Swift's other albums, its hip-hop experimentation and detail-heavy songwriting led to her refined craftsmanship on subsequent records, namely Folklore (2020), Evermore (2020), and Midnights (2022).[10][205][206] In a 2024 ranking of Swift's 11 albums for The New York Times, Caramanica ranked Reputation at number one. He contended that the album showcased Swift's "real growth" on a narrative level by owning up her character flaws and expressing vulnerability, even embracing the frailties of fame and celebrity.[207]

Track listing

[edit]
Reputation track listing
No.TitleWriter(s)Producer(s)Length
1."…Ready for It?"
  • Martin
  • Shellback
  • Payami
3:28
2."End Game" (featuring Ed Sheeran and Future)
4:04
3."I Did Something Bad"
  • Swift
  • Martin
  • Shellback
  • Martin
  • Shellback
3:58
4."Don't Blame Me"
  • Swift
  • Martin
  • Shellback
  • Martin
  • Shellback
3:56
5."Delicate"
  • Swift
  • Martin
  • Shellback
  • Martin
  • Shellback
3:52
6."Look What You Made Me Do"
  • Swift
  • Antonoff
3:31
7."So It Goes..."
  • Martin
  • Shellback
  • Görres
3:47
8."Gorgeous"
  • Swift
  • Martin
  • Shellback
  • Martin
  • Shellback
3:29
9."Getaway Car"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:53
10."King of My Heart"
  • Swift
  • Martin
  • Shellback
  • Martin
  • Shellback
3:34
11."Dancing with Our Hands Tied"
  • Martin
  • Shellback
  • Holter
3:31
12."Dress"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:50
13."This Is Why We Can't Have Nice Things"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:27
14."Call It What You Want"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:23
15."New Year's Day"
  • Swift
  • Antonoff
  • Swift
  • Antonoff
3:55
Total length:55:45

Notes

[edit]
  • ^a signifies an additional vocal producer.
  • "Look What You Made Me Do" contains an interpolation of the 1991 song "I'm Too Sexy" by the band Right Said Fred.

Personnel

[edit]
  • Taylor Swift – vocals, backing vocals (tracks: 1, 4, 10), producer (tracks: 6, 9, 12–15); executive producer; packaging creative design, package direction, creative packaging direction
  • Max Martin – producer, keyboards, programming (tracks: 1–5, 7, 8, 10, 11); recording (track 1); piano (tracks: 4, 5); backing vocals (track 4)
  • Shellback – producer, keyboards, programming (tracks: 1–5, 7, 8, 10, 11); drums (tracks: 2, 4, 10); bass (tracks: 2, 10); guitars (track 8)
  • Ali Payami – producer, keyboards, programming (track 1)
  • Jack Antonoff – producer, programming, instruments (tracks: 6, 9, 12–14); backing vocals (tracks: 6, 9, 14); piano, bass, guitar, synths (track 15)
  • Oscar Görres – producer, keyboards, programming, piano (track 7)
  • Oscar Holter – producer, keyboards, programming (track 11)
  • Michael Ilbert – engineer (tracks: 2–5, 7, 8, 10, 11)
  • Sam Holland – engineer (tracks: 2–5, 7, 8, 11)
  • Laura Sisk – engineer (tracks: 6, 9, 12, 13, 15)
  • Noah Passovoy – engineer (track 10)
  • Cory Bice – assistant engineer (tracks: 2–5, 7, 10, 11)
  • Jeremy Lertola – assistant engineer (tracks: 2, 4, 5, 7, 10, 11)
  • Jon Sher – assistant engineer (track 10)
  • Ed Sheeran – featured artist (track 2)
  • Future – featured artist (track 2)
  • Ilya Salmanzadeh – additional vocal production (track 2)
  • Seth Ferkins – engineer (track 2)
  • Sean Flora – assistant engineer (track 2)
  • Peter Karlsson – assistant engineer (track 2)
  • Mike Synphony – assistant engineer (track 2)
  • Daniel Watson – assistant engineer (track 2)
  • Victoria Parker – violins (tracks: 6, 9, 13); viola (track 13)
  • Phillip A. Peterson – cellos (tracks: 6, 9, 13)
  • Evan Smith – saxophones (track 6)
  • James Reynolds – baby voice intro (track 8)
  • Sean Hutchinson – drums (track 9)
  • Serban Ghenea – mixing
  • John Hanes – mix engineer
  • Randy Merrill – mastering
  • Mert and Marcus – photography
  • Mat Maitland – photo creative direction
  • Joseph Cassell – wardrobe stylist
  • Isamaya Ffrench – makeup
  • Lorraine Griffin – manicurist
  • Paul Hanlon – hair
  • Josh and Bethany Newman – packaging art direction
  • Ben Fieker – packaging design
  • Parker Foote – packaging design
  • Austin Hale – packaging design

Charts

[edit]

Certifications and sales

[edit]
Certifications for Reputation, with pure sales where available
Region Certification Certified units/sales
Australia (ARIA)[140] 5× Platinum 350,000‡
Austria (IFPI Austria)[148] Platinum 15,000‡
Belgium (BRMA)[149] Platinum 20,000‡
Brazil (Pro-Música Brasil)[317] 3× Platinum 120,000‡
Denmark (IFPI Danmark)[154] 2× Platinum 40,000‡
France (SNEP)[150] Platinum 100,000‡
Germany (BVMI)[151] Platinum 200,000‡
Italy (FIMI)[152] Platinum 50,000‡
Japan (RIAJ)[157] Gold 100,000^
Mexico (AMPROFON)[318] Platinum 60,000‡
New Zealand (RMNZ)[142] 6× Platinum 90,000‡
Norway (IFPI Norway)[319] Gold 10,000‡
Poland (ZPAV)[155] 2× Platinum 40,000‡
Portugal (AFP)[320] Gold 3,500‡
Singapore (RIAS)[156] Platinum 10,000*
Spain (PROMUSICAE)[321] Gold 20,000‡
Sweden (GLF)[153] Platinum 40,000‡
Switzerland (IFPI Switzerland)[322] Gold 10,000‡
United Kingdom (BPI)[144] 3× Platinum 900,000‡
United States (RIAA)[137] 7× Platinum 7,000,000‡

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Reputation (album)

View on Grokipedia
from Grokipedia
is the sixth studio album by American singer-songwriter , released on November 10, 2017, through . Produced primarily by Swift in collaboration with , , and Shellback, it features a sound rooted in with incorporations of hip-hop beats, trap elements, and synthesized production. The record's lyrics examine Swift's navigation of public feuds, media misrepresentation, and private romance, presented through a narrative of defiance and self-reinvention. Upon release, Reputation achieved immediate commercial dominance, debuting at number one on the chart with 1.216 million album-equivalent units in its first week—a figure that marked the largest opening week for any album in and Swift's fourth consecutive million-selling debut. It sustained four non-consecutive weeks at the summit and has since been certified seven-times platinum by the RIAA, denoting seven million certified units shipped in the United States. Critics delivered generally favorable but polarized assessments, aggregating to a score of 71 out of 100 based on 28 reviews, praising its sonic cohesion while critiquing occasional lyrical overreach. The album's rollout emphasized minimal traditional promotion amid Swift's self-imposed media blackout, relying instead on cryptic social media teasers and lead singles like "...Ready for It?" and "Look What You Made Me Do," which both topped the Billboard Hot 100. This approach, coupled with the record's darker aesthetic shift from Swift's prior bubblegum pop eras, underscored a deliberate reclamation of control following high-profile disputes, contributing to its status as a pivotal, if contentious, evolution in her discography.

Development

Background

The escalation of Taylor Swift's feud with in 2016 significantly influenced the context surrounding the creation of . On July 17, 2016, , West's then-wife, posted edited video clips on from a phone conversation between West and Swift earlier that year, in which West sought Swift's input on lyrics for his song "Famous" from the album . The clips suggested Swift had approved the controversial line "I made that bitch famous," portraying her as complicit despite her prior objections to the derogatory term during the call. Swift responded via , accusing Kardashian of editing the footage to manipulate public perception and asserting she had been misrepresented. This incident triggered widespread media and online backlash against Swift, with tabloids and social media users labeling her as manipulative and deceitful. Kardashian's use of a snake emoji in her posts amplified the narrative, leading to an influx of snake emojis and imagery in comments on Swift's Instagram and Twitter accounts, symbolizing betrayal and venom. Coverage in outlets like The Guardian highlighted how ex-boyfriend Calvin Harris's accusatory tweets further fueled the perception of Swift as calculating, contributing to a broader public vilification that contrasted with her previously curated image of innocence. Swift subsequently wiped her social media accounts clean on August 18, 2016, and entered an extended hiatus from public life, limiting appearances to legal proceedings and avoiding media engagements from mid-2016 through much of 2017. Amid this withdrawal, Swift pursued legal action stemming from a 2013 incident, culminating in a countersuit against former radio host David Mueller for . On August 14, 2017, a jury ruled in Swift's favor on her assault and battery claims, awarding her a symbolic $1 in damages while rejecting Mueller's suit against her. The verdict provided a measure of vindication following years of scrutiny but occurred against the backdrop of ongoing reputational challenges from the 2016 controversies.

Recording

Recording for Reputation took place primarily from 2016 to 2017, amid Swift's withdrawal from public view following high-profile media controversies and legal proceedings. Swift documented portions of the process herself in a behind-the-scenes series titled "The Making of a Song," which captured writing and recording sessions for select tracks. Swift co-produced the album with two primary production teams: Jack Antonoff, who handled six tracks in sessions largely at his home studio in Brooklyn, New York; and Max Martin alongside Shellback, who oversaw the remaining nine tracks, often at Martin's MXM Studios in Stockholm, Sweden. Additional contributions came from Ali Payami on tracks like "...Ready for It?," incorporating programmed elements. This collaboration built on prior work from Swift's 1989 album, shifting toward a sound with heavy electronic production. The production integrated live —such as guitars, bass, , and synthesizers played by Antonoff—with dense layers of programmed machines, surging keyboards, and multi-tracked vocals to achieve a maximalist aesthetic. Influences from hip-hop, trap, and drove the use of propulsive bass lines, aggressive synths, and dubstep-inspired drops, fostering a darker, urban tone distinct from Swift's country-leaning origins.

Conception and songwriting

Taylor Swift initiated the conception of Reputation amid a period of intense public backlash following the 2016 release of an edited phone call recording by Kim Kardashian, which fueled accusations of dishonesty and prompted widespread online harassment via snake emojis targeting Swift. Opting against a defensive posture, she reframed the "snake" as a badge of defiance and self-possession, viewing media distortions not as insurmountable defeats but as catalysts for narrative control rooted in individual accountability. In a May 2018 interview, Swift articulated this shift, explaining that the motif aimed to convey resilience against bullying: "if someone uses name calling to bully you on social media... you don’t have to let it define you." This approach prioritized agency over grievance, countering the victimhood trope prevalent in prior personal disclosures by emphasizing proactive reclamation. Songwriting drew from Swift's seclusion after withdrawing from public appearances in late 2016, where she processed experiences through unfiltered journaling that evolved into lyrical explorations of retribution, , and relational renewal. The process marked a tonal pivot from the introspective candor of albums like 1989 to unyielding assertiveness, informed by real-time emotional reckoning rather than retrospective softening. Swift captured segments of these sessions in the multi-part "Making of a Song" video series, which traced embryonic concepts—often sparked by immediate relational dynamics or adversarial encounters—toward finalized expressions of . This method yielded an album narrative that interrogates reputational fragility while affirming personal sovereignty, substantiated by Swift's own accounts of deriving content from unaltered personal agency amid external pressures.

Music and lyrics

Musical composition

Reputation is characterized by an electropop and sound incorporating R&B and trap elements, marking a maximalist approach to modern pop production. Swift collaborated with producers , Shellback, and to craft electronic arrangements featuring heavy bass, synthesizers, and programmed drums. Key sonic features include hair-raising bass drops, harsh synthesizer tones, stuttering trap percussion, and processed electronic backing vocals, often creating abrupt dynamic shifts from sparse, minimalistic verses to explosive, anthemic choruses. The album's tracks span a wide range of 76 to 172 beats per minute, with prevalent key signatures in , , and , emphasizing and alongside pulsating basslines and 808 drum patterns. This electronic-heavy composition reflects Swift's progression from her initial acoustic, country-rooted style toward urban-influenced pop, prioritizing electronic instrumentation and hip-hop-derived beats over traditional live elements.

Themes and lyrical content

The lyrical content of Reputation revolves around motifs of intense media scrutiny, by former allies, and a defiant rebirth, framed as a response to the 2016 public vilification stemming from Swift's feud with and , during which she was derogatorily labeled a "snake" via emojis and memes. Swift reclaimed the serpent imagery not as emblematic of duplicity but of resilience and transformation, stating in a 2018 tour monologue that after enduring "really low times" from widespread online name-calling, she viewed it as a lesson in strength: "If someone uses name-calling to bully you on ... that doesn’t have to beat you. It can strengthen you instead." This reclamation permeates tracks like "Look What You Made Me Do," a pointed clapback to critics and adversaries with lines such as "I got a list of names and yours is in red, underlined / I check it once, then I check it twice, oh," signaling the burial of her prior compliant persona in favor of unyielding retaliation. Betrayal emerges as a causal trigger for aggression in songs such as "I Did Something Bad," where Swift confronts twisted narratives of her actions—potentially referencing ex-partner or the Kardashian-orchestrated fallout—with defiant refrains like "If a man talks shit, then I owe him nothing / I don't regret it one bit, 'cause he had it coming," and the "They're burning all the witches, even if you aren't one," evoking historical mob to underscore disproportionate backlash against perceived ambition. "This Is Why We Can’t Have Nice Things" extends this with sardonic wordplay mocking insincere friendships turned toxic, as in "Did you think I wouldn't hear all the things you said about me? / This is why we can't have nice things, darling," attributing relational to envy-fueled leaks and public shaming. In , the lyrics delineate a shift toward vulnerable, guarded romance, illustrating emotional where public complicates private bonds, as in "Delicate," which probes the fragility of a budding relationship with self-doubting queries: "My reputation's never been worse, so / You must like me for me... Is it cool that I said all that? / Is it chill that you're in my head?"—reflecting fears that tabloid distortions could preclude authentic intimacy. Tracks like "Call It What You Want" employ metaphors of regenerative defense—"All the flowers that we'd grown together died of thirst"—to convey thorns-like protection over a redemptive love, while "" closes the arc with stripped intimacy: "Please don't ever become a stranger whose laugh I could recognize anywhere," prioritizing enduring personal ties amid reputational wreckage. The narrative progression—from confrontational exposé of betrayals to resilient self-reinvention—relies on Swift's hallmark and allusions, such as puns on her name in "...Ready For It?" ("Knew he was a killer first time that I saw him / Wonder how many girls he had loved and left haunted") and heist analogies in "Getaway Car" ("It was the best of times, the worst of crimes / I struck a match and blew your mind"), blending aggression with wry to reject sanitized victimhood in favor of agency-driven .

Release and promotion

Announcement and marketing strategies

Taylor Swift initiated the promotional campaign for Reputation by erasing all previous posts from her social media accounts on August 18, 2017, followed by a series of cryptic videos featuring segments of a slithering snake, beginning with its tail on August 21. These teasers, which progressively revealed the snake's body and head, symbolized Swift's reclamation of the reptile imagery associated with online backlash from her 2016 feud with and , transforming a derogatory into a motif of defiance and rebirth. On August 23, 2017, she officially announced the album's title, cover art, and November 10 release date via , coinciding with the debut of lead single " Do." To generate anticipation without conventional press previews or widespread leaks, Swift hosted exclusive "secret sessions" in private homes across the , , and other locations during October 2017, inviting select superfans identified through interactions to listen to the full under non-disclosure agreements. These intimate gatherings, the fourth iteration of her fan-only preview events since 2014, fostered loyalty and organic buzz, with participants like those at the October 13 session and October 18 event later sharing permitted anecdotes post-release. The approach eschewed traditional radio premieres or media embeds, prioritizing direct, controlled fan access to rebuild hype amid Swift's self-imposed media silence following personal scandals. Departing from standard album rollouts, Swift avoided advance promotional singles beyond the announcement-tied "Look What You Made Me Do," opting instead for unannounced drops like the full release of "...Ready for It?" on September 3, 2017, after a brief sports broadcast preview the prior evening. This surprise tactic extended to physical merchandise bundles exclusive to Target retailers, which included two 72-page magazines styled as satirical tabloids with mock headlines lampooning sensationalist coverage, such as promises of "shocking photos" and "outrageous poetry," thereby critiquing the media's role in shaping her public image. These elements collectively emphasized secrecy, fan-centric engagement, and subversion of tabloid narratives to restore intrigue after a period of relative withdrawal.

Singles and videos

The from Reputation, "...Ready for It?", was released to digital platforms on October 26, 2017, serving as a promotional track ahead of the album's launch. Its , released simultaneously, depicted Swift in a futuristic, high-energy emphasizing resilience and anticipation, aligning with the album's themes of defiance amid public scrutiny. "End Game", featuring and , followed as the second single on November 14, 2017. The accompanying video, directed by Joseph Kahn, portrayed Swift navigating vibrant, neon-lit scenes across , , and , symbolizing global escapism and collaborative triumph over relational obstacles, with Sheeran and Future integrated into the eclectic, party-centric visuals. "Delicate" was issued as the third official single on January 23, 2018, to pop radio. The video showcased Swift grappling with invisibility via sophisticated visual effects, beginning with her receiving a glowing wristband that renders her unseen, leading to barefoot dances through urban and fantastical settings before regaining visibility on a billboard, underscoring vulnerability and eventual self-acceptance. These videos collectively employed elaborate production— including symbolic resurrective motifs in earlier releases like "Look What You Made Me Do," which featured Swift emerging from a grave and caging prior personas to critique reputational "deaths" inflicted by media feuds—to narrate personal reclamation. Despite initial promotional hurdles tied to ongoing public controversies, such as the 2016 Kanye West incident that amplified snake imagery and skepticism toward Swift's image, the singles achieved rapid digital and streaming traction, debuting in the Billboard Hot 100 top 10 upon release.

Live performances and tours

Taylor Swift's initial promotion of Reputation emphasized selective television appearances rather than extensive award show engagements. On November 9, 2017, she released a pre-recorded intimate performance of "New Year's Day" filmed in a residential setting for select fans, marking one of the album's first live unveilings ahead of its November 10 release. She followed this with a piano rendition of the track on Starring on November 13, 2017, highlighting the song's vulnerable tone amid the album's otherwise aggressive sound. These outings reflected a deliberate restraint from major award ceremonies in late 2017, consistent with the record's themes of media evasion and personal seclusion following prior public disputes. The , commencing May 8, 2018, at University of Phoenix Stadium in , became the album's central live platform, spanning 53 dates across stadiums worldwide until November 21, 2018. The setlist prioritized Reputation material, opening with "...Ready for It?" and incorporating tracks like "," "Gorgeous," "Look What You Made Me Do," "End Game," "Delicate," and "Getaway Car," which formed the core of the 24-song show alongside abbreviated medleys of prior hits. Stage production reinforced the album's motifs through elaborate snake imagery, including towering inflatable pythons, a golden cobra throne, and a serpentine for traversing the venue during "Delicate." The layout featured an X-shaped main with elevated platforms and rapid-elevator transitions, structuring the into acts that traced a narrative arc from reputational ruin—ushered by Joan Jett's "Bad Reputation" intro—to triumphant reclamation, echoing the lyrical progression of defiance and introspection.

Commercial performance

Chart achievements

Reputation debuted at number one on the US Billboard 200, earning 1.238 million album-equivalent units in its first week and marking the largest opening week for any album in 2017. The album remained at the summit for a second week with 256,000 units before returning for two more nonconsecutive weeks at number one, totaling four weeks atop the chart. It ranked as the number-one album on the 2017 Billboard 200 year-end chart and placed 62nd on the decade-end Billboard 200 tally for the 2010s. Internationally, Reputation reached number one in , , , , , , , and the , among at least 10 countries overall. The album's lead single "...Ready for It?" debuted and peaked at number four on the Billboard Hot 100, while "Look What You Made Me Do" ascended to number one on the Hot 100 in its second week, becoming Swift's fifth chart-topper. "Delicate" later peaked at number 12 on the Hot 100, though it topped several US airplay charts including Pop Songs and Adult Pop Songs.

Sales and certifications

Reputation has amassed approximately 18.7 million comprehensive sales plus equivalent (CSPC) units worldwide as of 2025, encompassing pure album sales, track downloads, and streaming equivalents adjusted to album terms. This figure reflects sustained consumption, bolstered by increased streaming activity following performances on The Eras Tour, which featured multiple tracks from the album. Pure sales, including physical copies and digital downloads, constitute a portion of this total, with digital downloads alone exceeding 5 million for key singles contributing to album bundling. Initial commercial distribution emphasized digital downloads and compact discs, accounting for the bulk of first-week sales exceeding 1.2 million units in the United States alone. Vinyl editions, released alongside standard formats, gained traction later, aligning with a broader revival in physical media preferences among consumers, though specific vinyl figures for Reputation remain secondary to digital and CD volumes compared to Swift's subsequent releases. The album has received numerous certifications reflecting its unit shipments and consumption:
CountryCertifying bodyCertificationCertified units/sales
3× Platinum210,000
IFPI AUT15,000
BEA30,000
2× 160,000
BPI3× 900,000^
RIAA7× 7,000,000^
^Shipments figures based on certification alone; includes streaming equivalents where applicable.

Critical reception

Contemporary reviews

Upon its release on November 10, 2017, Reputation received generally favorable reviews from music critics, aggregating to a Metacritic score of 71 out of 100 based on 39 reviews, indicating "universal acclaim" per the site's methodology despite a divide in opinions. Critics praised Swift's shift toward edgier pop production and themes of defiance amid personal scrutiny, with Rob Sheffield of Rolling Stone awarding four out of five stars and describing it as her "most intimate album," a "song cycle about how it feels when you stop chasing romance and start living in the real world." Similarly, Variety's Shirley Halperin highlighted its focus on love songs over breakup anthems, noting the album's "big on love songs" approach with references to real-life events like the Kanye West and Kim Kardashian feud. However, detractors criticized the album's vengeful undertones and perceived overproduction, arguing it prioritized spectacle over substance. Pitchfork's Jamieson Cox scored it 6.9 out of 10, calling it an "aggressive, lascivious display of craftsmanship" that nonetheless felt "sadly conventional" in its full embrace of modern pop trends, lacking the tuneful vengeance some anticipated. The New York Times' described Swift as a " pop " reckoning with industry tempos but questioned the cost of her defensiveness, suggesting the album's darkness stemmed more from external pressures than artistic evolution. The Guardian's noted its range from "forgettable to exquisite" tracks centered on , loss, and , but faulted tangential explorations of and celebrity for diluting focus. Fan reception showed strong polarization yet loyalty, with user reviews averaging 8.2 out of 10 from over 4,500 ratings, 82% positive, reflecting enthusiasm for its bold "snake" era imagery and empowerment narrative despite critical qualms about pettiness. Initial fan reactions on platforms like emphasized its catchy hooks and thematic cohesion, with many hailing it as a defiant response to media feuds rather than an overhyped comeback, though some echoed critics in finding the production exhausting. This divide underscored Reputation's artistic risks—departing from Swift's prior country-pop introspection toward hip-hop-infused aggression—over mere commercial rebound claims.

Accolades and industry recognition

earned a single nomination at the in 2019 for Best Pop Vocal Album, losing to Ariana Grande's . The album's exclusion from Album of the Year consideration drew commentary on the disconnect between its commercial performance and Grammy recognition, as it was the best-selling album of 2017 in the U.S. with over 1.2 million copies in its debut week. At the 2018 American Music Awards, Taylor Swift secured four wins tied to the Reputation era: Artist of the Year, Favorite Pop/Rock Female Artist, Favorite Pop/Rock Album for Reputation, and Tour of the Year for the Reputation Stadium Tour. These victories elevated her to the most-awarded female artist in AMA history with 23 total wins, surpassing Whitney Houston. The Reputation Stadium Tour generated $266.1 million from 2 million tickets sold across 45 U.S. dates, marking it as the highest-grossing U.S. tour by a female artist and the top overall U.S. tour since Billboard Boxscore began tracking in 1990. Globally, the tour grossed $345.7 million from 53 shows, underscoring Swift's commercial dominance amid peers who received stronger critical acclaim but lesser sales. In December 2019, Swift received Billboard's inaugural Woman of the Decade award, honoring her sustained influence, including the Reputation cycle's role in breaking sales records previously held by male artists. Additional recognitions included the A2IM Libera Award for Independent Impact and Billboard's Top Selling Album accolade, affirming industry validation through empirical metrics over subjective critical metrics.

Controversies and public perception

Origins in media feuds and personal scandals

The escalation of Swift's feud with in 2016 over the song "Famous" from his album marked a pivotal media conflict preceding Reputation. Released in February 2016, the track included the lines "I feel like me and Taylor might still have sex / Why? I made that bitch famous," which Swift denounced as unauthorized and derogatory. On July 17, 2016, West's then-wife posted a series of edited Snapchat videos depicting a phone conversation between West and Swift, purporting to show her approval of the lyrics. Swift countered the same day via , clarifying that West had sought permission only to name-drop her and reference their potential future encounter but had omitted the epithet "bitch," and accusing him of secretly recording the call without her knowledge. The clips, later revealed in a 2020 leak to be selectively edited by omitting West's explicit preview of the full lyric to Swift, nonetheless triggered immediate and intense condemnation of Swift, with hashtags like #TaylorSwiftIsASnake trending and public figures amplifying accusations of her dishonesty. Concurrently, Swift's 2017 countersuit against former Denver radio DJ David Mueller stemmed from an alleged groping incident on June 1, 2013, during a backstage at a . Mueller had sued Swift in 2015 for after his firing, claiming her accusation was fabricated; Swift countersued for . The federal trial, held August 7–14, 2017, ended with a of six women and two men unanimously ruling that Mueller had intentionally groped Swift by reaching under her skirt and grabbing her bare buttocks, awarding her $1 in symbolic damages while rejecting her requests for punitive and attorney fees. Although the verdict corroborated Swift's testimony—supported by corroborating photos showing Mueller's hand position and witness accounts—Mueller maintained his innocence post-trial, and segments of media coverage echoed his narrative by framing the litigation as a calculated effort amid Swift's career peak, despite the absence of evidence for such motive. Swift's romantic life had long attracted disproportionate tabloid fixation, with early 2010s coverage routinely labeling her a "serial dater" who cycled through high-profile partners like Joe Jonas, Taylor Lautner, John Mayer, and Harry Styles, often imputing predatory intent such as using relationships for songwriting fodder. In a 2015 Vanity Fair interview, Swift described how this scrutiny—"boy crazy" or "serial dater" tropes—pressured her into romantic seclusion to evade further shaming, noting fabricated narratives around her breakups that inverted accountability. Empirical disparities in coverage volume and tone were evident: while Swift's partnerships drew hundreds of articles per relationship dissecting her agency, male contemporaries like Mayer faced minimal backlash for similar age-gap dynamics or serial dating, underscoring a gendered lens where female autonomy in romance was pathologized as manipulative against normalized male patterns. These pre-album scandals coalesced into a vilified public persona, directly informing Reputation's raw confrontation with betrayal, scrutiny, and narrative control.

Criticisms of artistic and commercial tactics

Critics characterized the album's lyrical content as petty and immature, with tracks such as "Look What You Made Me Do" interpreted as spiteful retaliations against perceived enemies rather than reflective growth. This approach was seen as prioritizing personal vendettas over broader artistic evolution, contrasting with expectations for an artist of Swift's stature to transcend tabloid conflicts. The overarching narrative of reclaiming a tarnished reputation through victimhood drew pushback for overlooking Swift's established commercial power and influence prior to the album's events, framing her instead as an underdog despite her status as one of the industry's top earners. Detractors argued this selective portrayal served to elicit sympathy and bolster sales, aligning with patterns of self-victimization in her public persona. Commercial tactics faced scrutiny for emphasizing fan manipulation through cryptic teasers, hidden album details, and limited media engagement, which heightened exclusivity and drove pre-release hype without substantive artistic disclosure. The Reputation Stadium Tour's lavish production and global scale, generating over $345 million in revenue across 53 shows in 2018, prompted early environmental concerns over high carbon emissions from private travel and resource-intensive staging, though offsets were later claimed. Persistent rumors of ghostwriting, despite Swift's credits on all 15 tracks alongside collaborators like and , fueled doubts about the album's authenticity as a personal statement, with skeptics viewing it as a polished product prioritizing market appeal over genuine authorship.

Legacy and impact

Cultural and political references

The snake emoji, initially deployed by critics during the 2016 feud with and , was reclaimed by Swift as a symbol of defiance and rebirth on , appearing prominently in the album's black-and-white newspaper-style artwork, promotional imagery, and merchandise such as snake-motif jewelry released on August 25, 2017. This reclamation permeated pop culture, with the emoji evolving into a shorthand for Swift's narrative of media victimization turned empowerment, echoed in fan-driven memes and campaigns that flooded detractors' comments sections in retaliation. Parodies of the album's themes surfaced in television sketches, including Saturday Night Live segments that lampooned Swift's feuds and public persona during the Reputation era, such as guest appearances and musical skits referencing her dramatic reinvention amid scandals. These comedic takes highlighted the album's role in amplifying stan culture wars, where Swift's fans, known as , engaged in online battles with rivals, defending the record's portrayal of betrayal while amassing merchandise empires featuring snake-emblazoned apparel and accessories that grossed millions in sales. Politically, Reputation contained subtle allusions in music videos like "...Ready for It?" (released October 26, 2017), where futuristic newspaper headlines evoked media frenzy akin to election-year scrutiny, though Swift offered no explicit endorsements—maintaining silence during the 2016 U.S. presidential campaign to preserve her broad fanbase, including conservative listeners. Conservative commentators critiqued the album's feuds as emblematic of celebrity-driven cultural polarization, arguing they exemplified elite detachment from everyday concerns and fueled divisive stan dynamics over substantive discourse. Swift's later 2018 political marked a departure from this restraint, but Reputation's era underscored tensions between pop stardom and political neutrality.

Critical reevaluation

In the 2020s, has received retrospective praise for anticipating the dynamics of intense media and backlash, with its narrative of personal reinvention amid scrutiny paralleling later discussions of reputational resilience in high-profile controversies. A academic reevaluation positioned the album as embodying Swift's "conflicting personas," framing tracks like "...Ready for It?" as assertions of agency within a feminist , where individual triumph over adversaries underscores themes of empowerment through lyrical confrontation. This shift contrasts initial dismissals of the album's edginess as contrived, with later fan and critic defenses emphasizing its raw response to real-time scandals over perceived artistic snobbery toward Swift's pop evolution. Feminist scholarship has dissected Reputation's revenge anthems, such as "Look What You Made Me Do," as exemplars of liberal feminism, prioritizing women's autonomy and emotional retribution against patriarchal or media-driven oppression. However, analyses critique this approach for emphasizing individualistic vindication—rooted in personal narratives of betrayal—rather than broader systemic gender inequities, potentially reinforcing a neoliberal view of feminism as self-optimization amid adversity. Such interpretations attribute the album's reevaluation to its alignment with empirical patterns of cultural memory, where Swift's documented experiences of vulnerability during the 2016-2017 period lent authenticity to its defiance. Data underscores this longevity: streams on surged 175 percent following Swift's 2025 masters reclamation announcement, with lead single "...Ready for It?" gaining 80 percent to 2.21 million streams in a four-day window. (2023-2024), incorporating multiple tracks, further propelled catalog streams, including a broader 220 percent rise across Swift's early works, evidencing sustained listener engagement beyond contemporary release metrics. These metrics counter early underestimations, highlighting causal links between tour-driven exposure and validated artistic impact.

Enduring influence and re-recording status

The public dispute over the master recordings of Swift's early albums, including Reputation—her final release under Big Machine Records—catalyzed her initiative to re-record them, establishing a model for artists seeking greater control over their work and prompting broader industry discussions on ownership autonomy. This approach pressured labels to reconsider contract terms favoring performer rights, with Swift's actions cited as a turning point in elevating masters disputes from niche concerns to mainstream advocacy. On May 30, 2025, Swift reacquired the masters of her first six albums from Shamrock Capital for approximately $360 million, resolving the long-standing conflict without further re-recordings becoming strictly necessary for ownership purposes. The Reputation Stadium Tour (2018) underscored the album's commercial resilience, grossing $345.7 million worldwide from 53 shows— the highest-grossing tour of the decade at the time—and setting a U.S. record with $266.1 million from 38 dates, selling 2.9 million tickets overall. These metrics demonstrated Swift's ability to rebound from reputational challenges through large-scale live performances, influencing subsequent pop tours to prioritize stadium-scale production and fan engagement strategies. As of October 2025, Reputation (Taylor's Version) remains unreleased, with Swift stating on that vault tracks from the era would not be available "anytime soon" as she prioritizes her ongoing projects, including a new album. The 2025 masters buyback has shifted focus from re-recording necessity to potential bonus content, sustaining fan anticipation amid speculation about unreleased material's artistic value.

Track listing

Standard edition

The standard edition of Reputation comprises 15 tracks, with songwriting credits primarily shared between and frequent collaborators , Shellback, and .
No.TitleWriter(s)Length
1"...Ready for It?", , Shellback3:28
2"End Game" (featuring and ), , Shellback, , 4:04
3"I Did Something Bad", , Shellback3:58
4"Don't Blame Me", , Shellback3:56
5"Delicate", , Shellback3:52
6"Look What You Made Me Do", , Fred Fairbrass, Richard Fairbrass, Rob Manzoli3:31
7"So It Goes...", , Shellback3:47
8"Gorgeous", , Shellback3:29
9"Getaway Car", 3:53
10"King of My Heart", , Shellback3:34
11"Dancing with Our Hands Tied", , Shellback3:31
12"Dress", 3:50
13"This Is Why We Can't Have Nice Things", 3:27
14"Call It What You Want", 3:23
15"New Year's Day", 3:55

Notes on variants

The album Reputation lacks a deluxe edition with additional audio tracks, unlike predecessors such as 1989, which featured bonus songs; all official releases maintain the standard 15-track configuration across digital, , and vinyl formats. International physical editions primarily differ in packaging and supplementary media rather than content alterations. The Japanese limited edition , released concurrently with the global launch on November 10, 2017, includes a bonus DVD with the full for " Do", its accompanying lyric video, and a 20-minute behind-the-scenes documentary on the video's production. Similar bundled formats appeared in markets like , emphasizing collectible visuals over musical variants. Vinyl variants exist in standard black pressing and limited-edition configurations, with distinctions limited to aesthetics and no impact on the recorded tracks. No official remixes or alternate track versions were incorporated into editions as of October 2025, though commissioned radio edits for singles like "Look What You Made Me Do" were released separately for promotional purposes. As of that date, no re-recorded version under Swift's ownership has been issued, preserving the original masters from for all variants.

Personnel

Taylor Swift served as for the album, with primary production handled by , Shellback, and . Additional production contributions came from on "...Ready for It?", on select tracks including "Delicate" and "Dancing with Our Hands Tied", and on "So It Goes...". Vocals and primary performance
  • – lead and background vocals
  • – featured vocals, background vocals (track 2: "End Game")
  • – featured vocals (track 2: "End Game")
  • – background vocals
  • – background vocals
Instruments and programming
  • – bass, guitar, , , programming
  • Shellback – bass, drums, guitar, keyboards, programming
  • Evan Smith –
  • Phillip A. Peterson –
  • Victoria Parker – viola, violin
  • Sean Hutchinson – drums
Engineering and mixing
  • Serban Ghenea – mixing
  • John Hanes – mixing engineer
  • Engineers: Laura Sisk, Sam Holland, Michael Ilbert, Noah Passovoy, Seth Ferkins
  • Assistant engineers: Cory Bice, Daniel Watson, Jeremy Lertola, Jon Sher, Mike Symphony, Peter Karlsson, Sean Flora
Mastering

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