Being a diverse individual, Cockburn has explored various genres of music. He openly embraces his admiration for Taylor Swift, dismissing Al Michaels’s narrow view that Swift’s appeal is limited to teenage girls. Cockburn proudly identifies as a “Swiftie,” partly because Swift’s music often references one of his favorite pastimes: drinking alcohol.
Al Michaels’s assertion that such mature imagery is solely for teenagers reveals a limited understanding of Swift’s evolution as an artist beyond her 2014 album, “1989.” Cockburn, having casually explored Swift’s music, observes a thematic shift towards alcohol beginning with her “Reputation” album, coinciding with her relationship with Joe Alwyn, a Brit known for their appreciation of alcohol.
Speculating further, Cockburn suggests that Swift’s affinity for alcohol may have intensified after her experiences in 2017, when she mentioned swimming “in a Champagne sea” and admitted to indulging in various alcoholic beverages. This inclination towards alcohol becomes more pronounced in her subsequent albums, especially during the tumultuous year of 2020 amid the COVID-19 pandemic.
Throughout her discography, Swift repeatedly references wine, cocktails, and other alcoholic drinks, suggesting a penchant for indulgence. In “Midnights,” this theme persists with songs exploring the consumption of liquor and cocktails.
While Cockburn acknowledges the creative stereotype of turning to alcohol for inspiration, he doesn’t endorse it as a solution. Nevertheless, he empathizes with Swift’s occasional indulgence, considering the pressures of fame and constant scrutiny she faces. Ultimately, Swift’s latest album reflects her signature style—poignant, innovative, and, as described by Alexander Larman, a standout amidst the music industry’s mediocrity. Yet, there’s a deeper, more introspective tone in her lyrics this time, with Swift openly acknowledging her struggles and the allure of alcohol as a coping mechanism.
