One year on: The definitive ranking of every song on Midnights by Taylor Swift

I’ve literally listened to this album at LEAST once a week since it came out

6 months ago

Do you remember where you were when Taylor Swift announced Midnights? I was at an afterparty, completely off my tits and staring at Twitter at 3AM wondering if it was real or if I was just honestly that fucked. Now here we are, one year on – with Midnights being an undeniably huge success and one of the most record breaking, career defining albums of all time. Even when some might say it doesn’t really deserve it – you don’t have to look very far online to see Midnights being called MIDnights. One year on from Taylor Swift releasing Midnights, my ranking certainly looks and feels a lot different to the way it did when the album first dropped. I love this album, but feel like it’s chock full of boring filler too. Let’s get into it.

24. Vigilante Shit

I can’t stomach this song. Beyond cringe. Doesn’t sit nicely amongst any other song on the album and sounds like what Reputation naysayers try and claim Reputation sounds like. The absolute rock bottom when it comes to ranking Midnights by Taylor Swift one year on, and anyone saying otherwise needs their ears washing out I fear.

23. Glitch

A nice idea that runs out of steam too quickly. The melody and guitar twiddling get annoying by the end of the song, and the chorus just ain’t hitting like it should.

22. Bigger Than The Whole Sky

A dreamy song that feels like floating on clouds. Sometimes I can listen to this song and it sounds majestic and moving, but other times it sounds bland. Definitely one of the least essential moments on Midnights.

21. Question…?

I know Swifties are going to murder me in my sleep for this because it’s a fan favourite but I truly have no clue what you all see in this. First of all, lyrically, it makes NO SENSE. She is truly just saying words. We’re better than this.

20. Midnight Rain

Another low placement for a fan fave which I expect to be crucified at dawn for, but I can’t get over the fact the background vocals sound exactly like James Charles. EXACTLY like him. How am I meant to enjoy this song when that’s all I can hear?

19. High Infidelity

Sometimes when Taylor Swift works with Aaron Dessner, the songs come out almost tooooooo The National-like. High Infidelity is an example of that. It doesn’t feel Swift enough for me. Could be an album track on The National’s first album of 2023, honestly. I don’t hate it but just misses that wow factor to elevate it. Some great writing here, though.

18. The Great War

I think The Great War is a better example of Dessner and Swift working together and merging their styles in a way that works where High Infidelity doesn’t. It’s got that 1989/Lover vibe chorus that makes it hit so satisfyingly, but my qualm here is actually I think the writing is really boring.

17. Sweet Nothing

I actually think Sweet Nothing is underrated. The context of it though, written with her ex Joe Alwyn under his William Bowery pseudonym, makes it fall on deaf ears a bit one year on. Taylor and Joe feel like a million years ago already and now it hasn’t got that relationship behind it it kind of just fades into the Midnights background.

16. Dear Reader

Before any extras were added, Dear Reader was the final track on Midnights’ 3AM edition, closing the album out. I actually really like this song. It’s reminds me of Daylight, the song that closes Lover, but not quite as amazing. Still, I think Dear Reader and its steady build and grand, cinematic sound actually remains quite underrated. A solid closer.

15. Snow on the Beach (feat. Lana Del Rey)

I get it and I always got it. The faint echoes of Lana Del Rey here work great for me. I think this song is actually brilliant, and would have been higher in the ranking if it didn’t get an even more amazing version released, thus rendering this one a bit pointless.

14. Paris

A silly little pop song for the silly little girlies who love silly little bops. Nothing special but I have a soft spot for it. I feel so girlypop when this comes on.

13. Labyrinth

Some gorgeous production here. The little twinkly notes? The extremely breathy vocals? The head voice? Really enjoy it, and sounds like nothing else on the album. Again, it’s underrated.

12. Would’ve Could’ve Should’ve

YEP. Great, GREAT song. Building a tune around would’ve, could’ve and should’ve is genius and it works perfectly. I absolutely adore how the chorus bursts in – very anthemic.

11. Karma (feat. Ice Spice)

I think I’m literally the only person alive who’s going to say this, but… This is really good. It just is. I don’t care. Argue with someone else! FACTS.

10. You’re Losing Me

One year on from Midnights and ranking all of the songs, the only one not yet to be put on Spotify by Taylor Swift is You’re Losing Me. You’re Losing Me exists only on the CD version of Midnights released in May of this year – and it’s the perfect way to kick off the top 10 because it’s honest to god AMAZING. How Hits Different and You’re Losing Me weren’t pride of place in the tracklist of the original Midnights is beyond me. Devastating, well produced and just classic Taylor.

9. Mastermind

The closing track of the standard edition of Midnights, Mastermind is a synthy masterpiece. The way Taylor Swift builds her stories through her songs has always been one of her biggest talents and Mastermind is a perfect example of how she builds to her finales. Just thrilling. Very cinematic. Cherish it.

8. Hits Different

Not being dramatic, but the day we finally got this on Spotify was one of the greatest of my silly little life. This is a perfect song to me – a gorgeous little slice of 00s teen movie soft rock pop with a blissful chorus. So much serotonin listening to this one. A summer day drinking tinnies on the park with your mate in a song.

7. You’re On Your Own Kid

Any Swift worth their salt knows that every track five on a Taylor Swift album is THAT song. All Too Well, Delicate, White Horse, Dear John… all devastate in the track five position. You’re On Your Own Kid is up there with the greats. The final minute feels so conclusive. Adore it.

6. Snow On The Beach (feat. More Lana Del Rey)

Just a genius decision, really. When Snow On The Beach came out everyone, myself included, was a bit deflated there wasn’t a hefty Lana presence on the track – with her feature being a muted backing vocal kind of vibe. When the Til Dawn edition of Midnights came out, Taylor heard us all and got Lana back in to record a full verse. Snow On The Beach in this form just feels correct. A bliss duet between the greatest songwriters working today. It’s my heaven.

5. Bejeweled

Straight up pop perfection. The chorus melody is so deliciously sweet. It takes everything in my power to not want to spin around and waggle my fingers when she sings “I can still make the whole place shimmer”. A perfect example of a song not having to be overly complex, sophisticated or deep to be incredible.

4. Lavender Haze

What an opening track this is. I wish more songs on Midnights had Lavender Haze’s fizzing sex appeal, I feel like it’s one of the only tracks that perfectly compliments the album’s visuals and styling. Sounds nothing like any other song she’s ever done before, and has such a nice breathy falsetto that makes it feel like Taylor’s literally purring into your ear. Heaven on earth. The only option to open this album.

3. Karma

CLASSIC Taylor Swift. The kind of song no other artist in the world could have ever released. All the twee Taylorisms are here in abundance: Petty comments about relationships, cats, all her usual fayre. And it never feels cringe or petty like it did a few times on Reputation on tracks like This Is Why We Can’t Have Nice Things or Gorgeous, instead sounding practically euphoric. Never gets old. I will go to another plane of existence when I hear this live at the Eras Tour.

2. Anti-Hero

Taylor Swift gets terrored a lot for her abysmal taste in singles choices, but Anti-Hero being the second best song on the Midnights ranking proves sometimes she smashes it out the park. To me, Anti-Hero is one of the greatest ever collaborations between Taylor and Jack Antonoff – a self-destructive and critical song deconstructing your insecurities from the inside with one of the most satisfying melodies she’s ever penned. The lyricism in the pre chorus is outrageous. Deserves every inch of its mainstream success. One of her biggest and best.

1. Maroon

You know how those tweets do the rounds where it asks “What Taylor Swift song is YOUR Taylor Swift song?” For me, Maroon is that song. I think it’s absolutely spectacular. Like a grown-up version of Red’s titular track, Maroon describes a complex relationship and highlights how amazing Taylor Swift is at honing in on the specific details. She makes you feel like you were right there in it with her. I often sit back and marvel at how beautiful “the rust that grew between telephones” is as a lyric. By the time the bridge hits, it’s a knockout. Obviously Taylor isn’t known for her expletive filled songs, so when she sings “real fucking legacy” it just hits so satisfyingly. The way she says fucking? Wow. 10 out of 10.

@harrisonjbrock

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