IF TAYLOR SWIFT fans thought her boyfriend Joe Alwyn’s contribution to her lyrics was just a one-off, they are mistaken.

He plays a key role in ninth album Evermore, out today, which I was lucky to hear a preview of.

He is credited on three songs under his pseudonym William Bowery.

His first shout-out is for Champagne Problems, about a woman breaking her man’s heart.

Taylor sings: “Your mum’s ring in your pocket, my picture in your wallet, your heart was glass, I dropped it.”

He also helped pen Coney Island, where Taylor sings of her own heartbreak, and plays piano on final track Evermore.

In Ivy, Taylor sings about “drinking my husband’s wine” which will only fuel speculation she has wed Joe in secret.

Rumour was rife yesterday after she posted on Instagram a shot of her in a wedding dress.

Fans will be disappointed to hear they are NOT hitched.

Taylor’s followers went wild after the July release of her eighth album Folklore when they spotted the name William Bowery credited to two songs and worked out it was really the singer’s British boyfriend.

Yesterday she made the shock announcement that Evermore would be the “sister” album of Folklore and that she would be releasing it today, ahead of her 31st birthday on Sunday.

The album certainly feels like a continuation, with track Marjorie the best example.

Named after her gran, Marjorie Finlay, it is part two to her Epiphany song from Folklore which was about Marjorie’s husband Dean fighting in World War Two.

Her new song features her gran’s vocals and the accompanying video has footage of them together before she died in 2003.

In the album’s prologue, Taylor says Marjorie “still visits me sometimes in my dreams”.

The album also features Marcus Mumford on Cowboy Like Me, confirming my story they were collaborating. It’s just one of many great songs on the collection.

First review


FOR Taylor fans who craved more songs from Folklore, Evermore is the perfect follow-up.

She takes listeners on a rollercoaster ride of emotion as she candidly tells the stories of tumultuous relationships.

Whether they’re from experience or a figment of her imagination isn’t up for debate, and neither is the calibre of her lyrics that immerse you in a different world.

No song is a better example of this than No Body, No Crime, with HAIM, which begins with police sirens and leads you to believe a husband has killed his wife – reminiscent of the iconic Stan by Eminem.

But right at the end she deals the sucker-punch twist worthy of a Bafta award-winning drama.

Dorothea and Marjorie are not only names we haven’t heard in years but also songs by Taylor on the album that makes you realise we’ve also been missing this sort of quality in music for a while.

The penultimate track, Closure, does just that – giving us a brilliant performance towards the end of a passionate journey.

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