She would go on to make better singles than this in the same vein. More romantic woe, this time set to music that indicated Swift was heading away from Nashville: chugging post-Strokes guitars and something approaching a post-punk disco beat dominate and there’s not a pedal steel or banjo to be heard. Back to December (2010)Ī beautifully produced and subtly orchestrated ballad that never quite sets your pulse racing, Back to December is notable largely as the first Swift single to provoke speculation about which famous former beau it was directed at: in this case, Twilight actor Taylor Lautner.
It was a move that managed to cause a degree of controversy, the last thing you might expect from this well-written but unexceptional song. You could tell that Swift wasn’t prepared to be confined by Nashville from the fact that her second single came in “pop” and “radio” (ie country) versions, the former ditching the mandolin and pedal steel. A bit generic in its attempts to get fists punching the air, it is not among her most distinguished early efforts. The unexpected sound of Swift singing about the struggles of being an indie artist – at the time, she was signed to Big Machine, a label set up specifically for her – was subsequently repurposed as a US Olympic theme.
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