Its 1980s-inspired synth-pop production incorporates dense synthesizers, programmed drum machines, and processed electronic backing vocals, abandoning the acoustic arrangements that had characterized Swift's past albums.

The songs chronicle the aftermath of a failed relationship with lyrics that expand on Swift's autobiographical details; they depict heartbreak, recovery, and self-discovery from lighthearted, wistful, and nostalgic perspectives.

Seven singles supported the album, including the Billboard Hot 100 number-ones "Shake It Off", "Blank Space", and "Bad Blood", and the top-ten entries "Style" and "Wildest Dreams".

[36] After listening to the album, Big Machine's president Scott Borchetta asked Swift if she could include several country tracks with instruments such as fiddle, but she rejected his request.

[41][42] The songs are characterized by mid-tempo rhythms and memorable melodies, hooks, and refrains,[43][44] constituting a consistent palette[4] that stays faithful to 1980s synth-pop without overt influences of contemporary, popular hip-hop or R&B.

[61] The musicologist James E. Perone wrote that the vocal processing evokes 1980s pop sounds as much as it does 21st century Auto-Tune effects, creating a retro but also contemporary listening experience.

[62] For Wilson and NPR's Ann Powers, this synthetic rendering is a stark contrast to the naturalistic vocals of country music, but it helps Swift expand her emotional delivery through her versatile timbre and varied expressions.

[66][b] Molly Lambert, in her review for Grantland, opined that the central narrative revolves around a strong yet fragile sexual and intimate connection, with murky distinctions between love and lust.

[50] They address romantic regrets caused by bad decisions and irreversible pain, but Swift's narrator remains empowered and unwaveringly hopeful that things will work in her favor.

[45][78] "Shake It Off" is about Swift's indifference to her detractors and their negative remarks,[63] and its beat is driven by stomping sounds that Martin and Shellback created by banging their feet on a wooden floor.

[81] "Wildest Dreams" describes a powerful romantic and sexual connection that Swift's narrator knows will ultimately end; she pleads with her lover to remember her and their fond memories while it lasts.

[20][82] Described by Swift as a "tutorial" for men who want to rekindle broken relationships, "How You Get the Girl" sees her narrator instructing an ex-boyfriend with how to win her heart back[83] over acoustic guitar strums and beatboxing rhythms.

[86] In "I Know Places", which is instrumented by sparse piano, stuttering vocals, and drum-and-bass beats, the narrator vows to protect a fragile love, comparing herself and her partner to animals being hunted down.

[93] The cover is a portrait of Swift's face cut off at the eyes, which she thought to evoke a mysterious atmosphere that concealed "the emotional DNA of the album" because she did not want the audience to immediately identify whether 1989 was a "happy" or a "breakup" record.

[102] Polaroid's chief executive Scott Hardy reported that 1989 propelled a revival in instant film, especially among the hipster subculture who valued the "nostalgia and retro element of what [their] company stands for".

[103] Swift marketed 1989 as her first "official pop" album[104] and, with her label Big Machine, implemented an extensive promotional campaign through product endorsements, media appearances, and fan engagements.

[107] These listening sessions also invited journalists and critics selected by Swift, and they were held at her properties in Los Angeles, New York City, Nashville, Rhode Island, and London throughout September–October 2014.

[105] This edition includes three voice memos recorded on Swift's phone, containing her discussions of the songwriting process and unfinished demos for three songs: "I Know Places" (piano/vocal), "I Wish You Would" (track/vocal), and "Blank Space" (guitar/vocal).

[123] According to Myles McNutt, a scholar in communications and the arts, Swift used the voice memos to claim authorship of 1989, defying pop music's "gendered hierarchy" which had seen a dominance of male songwriters and producers.

[124] She had written an op-ed for The Wall Street Journal in July 2014, expressing her concerns over the decline of the album as an economic entity following the rise of free music streaming,[125] and reinstated her stance in a November 2014 interview with Time.

[105] This move prompted an industry-wide debate over the impact of streaming on declining record sales during the digital era[104] and a response from Spotify's CEO Daniel Ek, who defended the platform's royalty model.

[127] In an open letter published via Tumblr on June 21, 2015, Swift stated that 1989 would not be available on Apple Music, criticizing its non-payment of royalties to artists during their three-month free trial period.

[128] The following day, head of Apple Music Eddy Cue announced that they would reverse their initial decision and pay artists royalties during the free trial period, directly addressing Swift's open letter.

[120] In June 2017, Big Machine reinstated Swift’s catalogue on Spotify and all major streaming services, citing the milestone of the Recording Industry Association of America (RIAA) certifying 100 million song units across her discography.

Commenting on the female "squad", Fairclough said that it was a visual representation of Swift's newfound feminist identity, but its members of wealthy and conventionally attractive celebrities undermined the "underdog" relatability that she had curated during her career beginnings.

[191] Positive reviews generally complimented Swift's songwriting,[198] highlighting the multifaceted lyrics exploring lighthearted and bittersweet sentiments of failed romance that various critics found mature[40][41][52][199] and absent of the naivete portrayed in her past songs.

[64][87][201] Pitchfork's Vrinda Jagoda deemed Swift's persona of 1989 more self-reliant and confidant without dwelling too much on past pain,[195] while Rolling Stone's Rob Sheffield characterized the album as a "deeply weird, feverishly emotional, wildly enthusiastic" record that explored her feelings to extremes.

[45] Jon Caramanica of The New York Times and Alexis Petridis of The Guardian lauded 1989 as a faithful homage to 1980s pop, elevating Swift's status as a timeless musician ahead of her peers;[34] the latter attributed this success to her artistic vision despite the multiple collaborators and producers.

[194] In his review for Grantland, Steven Hyden contended that 1989 showcased consistent songcraft but felt the 1980s synth-pop palette repetitive and made Swift lose her distinctive voice.

[237][238][239] Artists who cited 1989 as an influence included the singer-songwriter Conan Gray,[240] the actor and musician Jared Leto,[241] and the pop band Vamps, who was inspired by the album to compose Wake Up (2015).