‘The Tortured Poets Department’ has two love songs about Travis Kelce. The rest of the Taylor Swift album isn’t so happy.

Travis Kelce only got two songs.

But don’t feel too bad for the Super Bowl-winning, New Heights-podcast-cohosting Kelce brother who is boyfriend to one of the world’s biggest pop stars.

The tunes in question on Taylor Swift’s The Tortured Poets Department are “The Alchemy” and “So High School.” The first is the penultimate track of the 16 songs Swift originally announced before sweetening the pot — because, of course she did — by adding an extra 15 at 2 a.m. Friday in an expanded The Tortured Poets Department: The Anthology edition. “So High School” is one of the streaming bonus tracks.

The two are the only unequivocally happy songs on the Wyomissing, Pa.-raised singer’s 11th album, which has ushered in the latest Era expected to be added to Swift’s world-dominating concert tour, which resumes in Paris on May 9 and spends the summer in Europe.

“The Alchemy,” presumably an expression of Swift and Kelce’s current state of romantic bliss, plays with football metaphors as in “When I touch down, call the amateurs and cut ‘em from the team” and “Where’s the trophy? He just comes running over to me.”

And in “So High School” Swifts feel like she is 16 all over again, cozying up with her jock boyfriend. It sports one of TTPD’s least-elegant rhymes: “Truth, dare, spin bottles / You know how to ball, I know Aristotle.”

But those songs are the exceptions that prove the rule. And that rule is: When a Taylor Swift album arrives, it’s going to include a surfeit of songs that zoom in on past failed relationships with her ex-boyfriends, who will be belittled in memorable ways.

The speculation among Swift’s massively locked-in fan base was that TTPD would primarily focus on the breakup of her six-year relationship with British actor Joe Alwyn, from whom she split before the Eras Tour kicked off in the spring of 2022.

Alwyn’s certainly in there, on songs like “So Long, London,” in which Swift sings “You swore you loved me, but where were the clues? I died on the altar waiting for the proof,” as well as “Black Dog,” which is included on the streaming Anthology edition, and shares a name with a London pub.

But the surprise is how many of Tortured’s most-searing songs seem to concern Matty Healy, the lead singer for the 1975.

Healy was part of the Eras Tour entourage when it arrived in Philadelphia last May for three shows at Lincoln Financial Field, playing in the band with Phoebe Bridgers, who opened the show. Swift is believed to have had a brief affair with Healy at the time, though they never went public.

“The Smallest Man Who Ever Lived” is seemingly about Healy, who is the shortest member of the 1975. And more subtle is the album’s title cut, which opens with a reference to Healy’s well-known typewriter fetish and goes on to compare him to a “tattooed golden retriever.”

It also name-drops Patti Smith, Dylan Thomas, New Jersey pop star Charlie Puth, Jack Antonoff, with whom Swift cowrote and produced much of the album, as well as Lucy Dacus, Bridgers’ boygenius bandmate who was until recently a Philadelphia resident.

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With 31 songs to digest and decode, the work of Swifties has just begun. The division of labor on TTPD is about evenly split between songs Swift worked on with Antonoff, with whom she first started collaborating in 2013, and Aaron Dessner of the National, with whom she teamed on her two pandemic cottagecorealbums, 2020′s Folklore and 2021′s Evermore.

That aesthetic split runs through the album. The bigger synth-pop moments like “Florida!!!,” which was written with British songwriter Florence Welch, and “Fortnight,” in which Swift — like Beyoncé on Cowboy Carter — teams with Post Malone, tend to be with Antonoff.

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Gentler moments like “Clara Bow,” a consideration of fame and performative identity named for 1920s “It Girl” and silent film star — also one of TTPD’s two nods to Stevie Nicks — are the work of Dessner.

What’s compelling about TTPD — and refreshing in its own hot-blooded way— is how impassioned and tormented, and often ill at ease it is.

It sets a new world record for most F-bombs dropped on a Taylor Swift album. It reignites a dormant celebrity feud on “thanK, you aIMee,” which is being widely interpreted as a Kim Kardashian diss track — maybe because the capital letters in the song title spell out her first name.

And after Swift wrote about contentment on 2019′s Lover and shifted away from autobiographical songwriting on Folklore and Evermore, TTPD feels deeply personal. Lots of songs like “loml” — which stands for “love of my life” — are about being head over heels, before crushing disappointment arrives on queue.

It’s Taylor being Taylor. And tortured isn’t in the album title by accident. Sure, Swift targets those who have let her down frequently, and often amusingly, as on “Who’s Afraid of Little Old Me?” But she doesn’t spare herself in the least. “Anti-Hero,” her self-implicating hit from 2022′s Midnights, is mild stuff compared to emotional turmoil of songs like “I Can Do It With a Broken Heart.”

That percolating dance-pop, rave-up sounds like it will be a crowd-pleaser when added to the Eras Tour set list. But while everyone is singing along, those listening closely won’t be able to miss the open wounds Swift reveals beneath the surface.

“Light, camera, bitch, smile, even when you want to die,” Swift sings. “All the pieces of me shattered, as the crowd was chanting ‘MORE!’” With The Tortured Poets Department — a double album twice as long as expected — that is exactly what Swift has given of herself.