Article
Culture
Music
Taylor Swift
6 min read

Taylor’s truth: how superstar authenticity appeals

As Taylor Swift fans took over his town, Nathan Betts contemplates the truth at the heart of the superstar’s appeal.

Nathan is a speaker and writer on topics related to faith, life and God. He lives near Seattle, Washington. His writing is featured frequently in The Seattle Times. nathanbetts.com

Taylor Swift wears a long yellow dress and signs with an outstretched arm against a backdrop of woods and a close up her singing beside it.
Taylor Swift performing on the Eras Tour.
Paolo V, CC BY 2.0, via Wikimedia Commons.

If you have been paying any attention to Taylor Swift’s most recent tour, you will know why the last several months have been termed The Summer of Taylor Swift. The artist has traveled across America, boosting economies en route, and filling stadiums with contagious happiness.  

I hadn’t realized the enormous impact Swift had made on entire cities until I was walking downtown Seattle earlier this summer for a Mariners baseball game. While walking from my car to the stadium I encountered an endless sea of Taylor Swift fans waiting outside the stadium in the early afternoon for her show that would begin that evening. I had heard about Taylor Swift before, had listened to her music, but seeing what I saw that day told me something more profound about her and something about us as human beings.  

But what I saw on the downtown streets of Seattle leading up to Taylor Swift’s concert was different. 

In recent history, we have seen different artists such as The Rolling Stones and AC/DC elicit strange (and frankly awkward) adulation where people throw their clothes onto the stage. U2 concerts have been hailed as a religious experience in which stadiums become cathedrals. And more recently, Justin Bieber gave many “Bieber Fever.”  

But what I saw on the downtown streets of Seattle leading up to Taylor Swift’s concert was different. I’ve been trying to pinpoint what it was exactly that struck me that day. People of all ages packed into surrounding streets in Taylor Swift attire, countless groups lustily singing her songs, cars and vans marked up with Taylor Swift song lyrics. There was a unity, a togetherness and distinct humanity to it all. The feeling was more akin to a spiritual revival than merely a big stadium concert rolling into town. 

I remember coming back home that evening and texting friends to see what they made of it. My question was: “What is it about Taylor Swift that has enabled her to connect with so many?” The answers I received all struck the same notes: A Taylor Swift concert was the best they had ever experienced. But more than the concert, it’s the vibe, the pure joy and happiness that you experience with everyone at the concert. There is something about her that makes people feel happy. And although she is a stratospheric star, she has deliberately made a point of seeming like the girl next store. People think and feel that she is their friend. She is relatable.  

If you are a Taylor Swift fan, you already know this. But as these thoughts about Taylor Swift rumbled through my brain for weeks after that experience, they took on a greater meaning during a lunch meeting I had with a friend back from college for the summer. Midway through our time together he asked me, “How do you deal with people who are fake?” The pensive look on my face revealed that I wasn’t exactly sure what he was asking, so he sharpened the question: “How do you deal with people who are hypocrites?”  

I now understood what he was getting at. He gave a few examples of friends and leaders around him who had acted in hypocritical ways. He saw through it.  Although he had moved on from those relationships, the jagged edges of hypocrisy still dug into him. They hurt. My friend was asking me how or if it’s even possible to trust in people who let you down.  

The truth is, I’ve lost count of the conversations I’ve had with people who have asked or expressed the same question. And yet, when my friend asked me this question, I wasn’t sure what to say. 

I offered just one thought: “What if the antidote to hypocrisy is the real thing? As in, what if the medicine for the disingenuous and fake is seeing a life that is genuine and real—a person who is true, honest, who lives a life of integrity? 

And in Taylor Swift, we’ve found a companion who knows the struggle of life and invites us to join her. 

This is where my mind came back to Taylor Swift and why it is that millions of us feel a real connection to her. The answer is nuanced, to be sure, but I wonder if part of it has to do with the fact that when we see or hear Taylor Swift, we experience a person who comes across as real. Perhaps more than in recent memory, we as a society have a low tolerance for BS. Yet, despite our abhorrence for the fake, our attraction to the real and authentic has grown just as strongly.  

Enter Taylor Swift. Among other qualities, Swift is not a fake. Isobel Jones, a cradle Swiftie, recently explained this to me:  

‘Taylor Swift isn’t fake because we’ve known her since she was 14, she gave all of herself to us, in her songs, in her interactions with fans, sending her coat to a fan who loved it (During the RED era; Swift would have been 22ish). She’s one of the first Tumblr gen artists who has consistently connected with fans and grown up with them, proving her consistency.’ 

We can relate to the words in Swift’s songs. Her lyrics of sadness, anger, hope, and grace connect with us. She touches the human spirit, not necessarily because we’ve been through the exact same kind of struggles, but because we are all human beings trying to figure out how to cope with hard things in life, own up to our shadows and weaknesses and still engage our journey in life. And in Taylor Swift, we’ve found a companion who knows the struggle of life and invites us to join her.  

In our age of loneliness and disintegrating relational bonds, I believe the message of Taylor Swift transcends her concerts and songs. She carries a message for us, a reminder of what we need as human beings. Truth, integrity, authenticity. We don’t necessarily expect people to be perfect, but we need an honesty in our relationships about who people really are, whether that is the good or the bad. Just please, whatever you do, don’t be a hypocrite. 

Wounds from hypocrisy can be hard to recover from. As a person of faith, I have experienced first-hand and have heard myriad stories of hypocrisy in the church. There is indeed much to be disheartened by in our world, and far-too-often within church walls. But in my more sober-minded moments when I am looking for lasting and healing solutions, I encounter a balm for my pain when I focus on the core and centre of the Christian faith.  

At its heart, Christianity goes beyond offering merely propositional prescriptions for the pain that paralyses us. Instead, hope is offered supremely in and through the person of Jesus Christ, God-in-flesh. Within Christ is a truth that rolls throughout the whole of sacred Scripture. It is the beautiful message that there is a God who can be trusted. We can trust him because he is real, he lived in our world of pain and hypocrisy, and he conquered its power. We might carry scars for the rest of our lives, but Christ’s life tells us that there will come a point, before we die or after, when he will heal the deepest of our wounds. He can be trusted, not because he makes everything in life work out the way we want it to, or because we will never experience pain, but because in Christ, we’ve found the one who knows the way through it.  

There’s also a challenge here for those who follow Christ and it is simply to reflect his character of truth, love, and beauty in how we live thereby opening up a world into which people actually want to inhabit.  

Recovering from being hurt by hypocrisy can be a long and hard road to travel. A recent conversation with a friend reminded me of how difficult that is while my experience of Seattle bubbling with Taylor Swift happiness provided a signpost of hope. And behind all of this I am made to wonder, more than I can ever recall, whether faith in Jesus Christ can help steer us in the right direction, if we are willing to engage who he was and the life into which he invites us.  

 

Review
Art
Awe and wonder
Culture
5 min read

Stanley Spencer’s seen and unseen world

The artist’s child-like sense of wonder saw heaven everywhere.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A woman dressed in dark Victorian clothes sits on a street among angels.
Detail: Sarah Tubb and the Heavenly Visitors.
Stanley Spencer Gallery

The seen and the unseen are keys to the work of Stanley Spencer but, while imagination is required to bring them together, they are not real and imaginary, rather they are real and real. 

The catalogue for Seeing the Unseen: Reality and Imagination in the Art of Stanley Spencer begins with a quote from Spencer’s writings:

“Everything has a sort of double meaning for me, there’s the ordinary, everyday meaning of things, and the imaginary meaning about it all, and I wanted to bring these things together.” 

Writing as he does, Spencer draws on the thinking of William Blake and Samuel Taylor Coleridge who, as Malcolm Guite has shown, viewed the imagination as not only shaping and putting things together, as Spencer describes, but also removing the dull film of familiarity that we put over everything, to see it with freshness once again. That freshness being primarily, the innocent view of a child.  

This exhibition brings together stunning examples of Spencer’s realistic works – his portraits and landscapes – which he often viewed as “potboilers” that merely paid the rent, and his biblical or symbolic works which had his heart and which, in his mind, formed a vast exhibition in a “church-house”. The curators, through their apt juxtapositions, compellingly demonstrate how Spencer brought together the seen and unseen in his work.  

View from Cookham Bridge (1936) is a realistic work that shows us beautifully a summer’s day in an area of great meaning to Spencer. He set his magnificent but unfinished Christ Preaching at Cookham Regatta, which is permanently on show at the Gallery and towers above everything else in the exhibition, just downstream of Cookham Bridge. Christ Preaching at Cookham Regatta teems with people and incident while, in View from Cookham Bridge, there are no people to be seen. Yet, in this painting, Spencer enables us to feel their presence – hearing the ducks and splash of oars, the chatter of people – thereby leading us to visualise the unseen. 

Spencer’s biblical and symbolic images are primarily set within Cookham, as the village itself suggested settings for specific scenes to him. The Betrayal is set at the end of Spencer’s own garden where the distinctive buildings of the maltings can be seen in the background. The Last Supper is then set in those same maltings, while Sarah Tubb and the Heavenly Visitors is set in the garden of Sarah Tubb’s home on Cookham High Street. Through this means Spencer emphasises both the universality and particularity of the Bible’s stories, in that they can be reimagined or reenacted anywhere and in the humblest of settings.  

Heaven in ordinary is a particular response to the incarnation – God moving into our neighbourhood – and is one that Spencer pushed to particular lengths, as is shown here through images from his Beatitudes of Love series. The Beatitudes are where Jesus turns our expectations of worldly success and achievement upside down by teaching that it is the meek and humble, the persecuted and those grieving who are blessed in God’s eyes and kingdom. In his Beatitudes of Love, Spencer demonstrates God’s acceptance of all by turning our expectations of beauty upside down and deliberately giving us characters who seem grotesque as those we are asked to admire and love. 

In doing so, he is also showing his retention of a child-like vision of the world as, from the perspective of a child, all adults are large, lumpy and disproportioned. Unlike a later great religious artist, Albert Herbert, who escaped from the limitations of adult vision by deliberately painting in a child-like manner, Spencer painted with a child-like vision. This can be seen in Christ Preaching at Cookham Regatta where his child-like Christ is both rotund but wonderfully energetic as he leans forcefully forwards from his wicker chair to engage with a group of children who are responding in the range of ways that children do, from attention and captivation to distraction and disinterest.  

His child-like vision and understanding are perhaps most clearly seen here in one of a series of pen and ink drawings undertaken for an almanack published by Chatto and Windus. These were domestic scenes illustrating the months of the year. The image for July is of his first wife Hilda smelling a flower. This is not an image of refined woman delicately savouring a pleasant odour, instead Hilda’s face is buried in the daisy, nose against pistil, as a child gaining the fullest experience possible.    

Blake was eight years old when he first saw angels in trees on Peckham Rye. Similarly, Spencer developed his sense of Cookham as a village in heaven in childhood. He never lost that child-like vision, although at times he questioned whether it had been successfully retained. Despite many poor choices and challenging life experiences, the works shown here reveal that Spencer carried a child-like sense of wonder through his life and work and, as a result, left as his legacy the deepest and broadest vision of heaven in ordinary that any artist has been able to gift to us.  

While his dream of a literal church-house in which to house his complete oeuvre was never a realisable aim, his works, taken as a whole, provide a key with which open a door allowing us to see what church and home, heaven and village, are together. Although small in size and therefore able to only show a minimal percentage of Spencer’s work at any one time, the Stanley Spencer Gallery, housed as it is in a former Wesleyan Chapel, creatively operates as a diminutive church-house for Stanley’s works, taking us deeper into his unique achievement one exhibition at a time. 

 

SEEING THE UNSEEN: Reality and Imagination in the Art of Stanley Spencer, Stanley Spencer Gallery, Cookham, 7 November 2024 – 30 March 2025 

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