One downside of turning your release strategies into scavenger hunts and layering clues within your work is that it invites enormous amounts of scrutiny about your potential motive. When Taylor Swift announced an expanded edition of last year’s critically maligned The Life of a Showgirl this week, subtitled The Encore, many fans instantly suspected one of two things: that it was designed to remind Grammy members of Showgirl’s existence during their voting period to determine next year’s nominees, or to oust country ingenue Ella Langley from her record-breaking US No 1 run.
If that sounds cynical, it’s also worth remembering that when Swift announced Showgirl last year, she said that unlike her previous album, The Tortured Poets Department – a 16-track record immediately inflated to 31 songs on release day – the purposefully concise, 12-track Showgirl would not be expanded. (This didn’t stop her releasing 34 variants of the record, with various acoustic demos and so on, to juice sales.)
