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But in the time that has passed from when Swift wrote this song to when she finally recorded it, the mournful “Nothing New” has transformed into something triumphant: It’s proof that Swift has outlasted her novelty and stuck around longer than her detractors imagined.
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The song is kind of a shadow version of “The Lucky One,” Swift’s incisive but ultimately peppy track about the price of fame on the original release of “Red.” “Nothing New” is much darker in tone and more sharply critical of a culture that moves from one young ingénue to the next: “How can a person know everything at 18 but nothing at 22?” Swift asks, foreshadowing some of the themes she’d explore on her 2020 album “Folklore.” Most striking, though, is the bridge, in which she imagines meeting the Eve Harrington to her Margo Channing, a predecessor with “the kind of radiance you only have at 17.” It’s hard not to picture the longtime Swiftie Olivia Rodrigo (“She’ll know the way and then she’ll say she got the map from me”), who seems to have fulfilled this prophecy to a T. One of the best offerings is “Nothing New,” a melancholic meditation Swift wrote in 2012 and returned to nearly a decade later, enlisting the singer-songwriter Phoebe Bridgers as her very capable duet partner.
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Like “Fearless” before it, Taylor Swift’s rerecorded and reclaimed “Red (Taylor’s Version),” out Friday, features a trove of newly recorded material from the vault.