Taylor Swift’s “Cleveland!” Turns a Love Song Into Defensive Spite, Review Says
Pitchfork’s review of Taylor Swift’s “Cleveland!” describes the track as a low point on The Life of a Showgirl: The Encore. The song is set in Travis Kelce’s home state, but the review says it becomes defensive and self-critical instead of sweet. The critic argues Swift sounds burdened by criticism and less assured in her strengths.
Pitchfork published Hattie Lindert’s assessment on September 25, 2026. The review covers “Cleveland!,” a pop/R&B track on Republic from The Life of a Showgirl: The Encore, described as a new edition of a record with a record-setting first week. Lindert connects the song to Swift’s 2010 country era and to “Babylon,” which identifies the Ohio setting as where Kelce is from.
The critique places “Cleveland!” alongside “Actually Romantic” and “CANCELLED!,” calling it defensive rather than romantic. It notes the narrator searches Twitter for insults about herself—dancing, dress, attractiveness, authenticity, annoyance—while a spoken bridge defines love as finding one person who tolerates you. Lindert frames this as a low point.
This review may shape how fans and casual listeners interpret the Encore edition, potentially reinforcing debates about Swift’s response to criticism. Readers who follow pop criticism could see it as a lens for discussing celebrity, vulnerability, and online harassment. Because the track references Kelce’s Ohio roots, some listeners may connect it to their relationship narrative. The piece could also affect Pitchfork’s readership and Swift’s audience, though its actual influence remains uncertain.