For Wesley, the most interesting thing about Taylor Swift’s latest album didn’t have much to do with the music. It was the critical response. Sure, there was plenty of enthusiasm. But there was also some exasperation and weariness. And to Wesley, that felt like a needed shift in pop music criticism. Which has gotten awfully nice lately. A little too nice.That idea — that pop music criticism has lost its edge — was explored in a recent New Yorker essay by Wesley’s buddy and fellow critic, Kelefa Sanneh. The two get together to trace the history of the form and think about what’s lost when critical punches are pulled.<ul><li>Thoughts? Email us at <a href="mailto:cannonball@nytimes.com">cannonball@nytimes.com</a></li><li>Watch our show on YouTube: <a href="https://www.youtube.com/@CannonballPodcast">youtube.com/@CannonballPodcast</a></li><li>For transcripts and more, visit: <a href="https://www.nytimes.com/column/cannonball-with-wesley-morris">nytimes.com/cannonball</a></li></ul>
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