by Hila Davies
The much anticipated tenth studio album, Taylor Swift’s Midnights, is a dazzling concoction of contemporary sounds and nostalgic storytelling, steeped with good old Swifty mystery. A far cry from the indie-folk sounds of Folklore and Evermore, Swift shows the world, yet again, that she is uncategorizable as an artist. A forceful return to pop, Swift presents both overly conventional letdowns and extraordinarily original triumphs. This one is for the overthinkers, the hopeless romantics, the dreamers, and the “I can’t sleep-ers”.
13 – Question…?
This track is lyrically impressive, but the musicality is not up to scratch. There’s nothing new with this track and that drum line needs to be stopped. I can see this being a pop hit, but I just wish it had been pushed further. Where are the killer bridges we are used to? Her reference to a “crowded room” is a running theme in her discography. But is this an easter egg, or just lazy writing?
12 – Karma
I can understand the appeal of “Karma” – a nod to both Reputation and years of sprinkled easter eggs eaten up by hardcore fans. Swift reminds us that she is fully capable of producing a pop hit after Folklore and Evermore. However, this track feels too predictable – I want music that either hits me in the chest or makes me want to dance on the table; this does neither.
11 – Snow On The Beach (feat. Lana Del Rey)
I have one question: where is Lana Del Rey? For such a highly anticipated collaboration, the lack of a Lana verse is disappointing. The instrumentation on this track is stunning, but for a song with such a poetic title, the lyrics are not up to scratch (“weird but fucking beautiful”, really?) I’ll be listening to the similar but superior “goldrush” instead.
10 – Bejewelled
“Bejewelled” is the pop anthem of this album. Filled with relatable lyrics, I can imagine this being a fan favourite for club sing-a-longs. This track’s similarity to “mirrorball” is fantastic; it draws us into the tale that is Swift’s transition into adulthood throughout her ten studio albums. Objectively catchy, this track sparkles brighter than any mirrorball’s shimmer.
9 – Labyrinth
Cinematic and ethereal, “Labyrinth” feels like Swift singing underwater. We feel Swift sink into clouds of pop synths, just as we witness her fall in love again with this track. A perfect combination of Radiohead-esque distortion and Swift’s pop storytelling we all know and love, this track would have been much higher up my list if it weren’t for the repeated last chorus.
8 – Lavender Haze
As the opening track, “Lavender Haze” sizzles with expectation (“meet me at midnight”). This feels like a new era for Miss Swift and her transition into late night pop hits. The production is superb – it perfectly captures how music sounds from a club bathroom; slightly hazy, buzzing away at the back of your brain. However, I wish there was more originality with this track – it is overly reminiscent of Harry Styles’ music, rather than her own sound.
7 – Maroon
This is Swift’s lyricism at its finest. Awash with poetry, the deep beats transport you to Rodrigo-esque, late-night break-up drives. This track pays homage to her 2019 hit, “Death By A Thousand Cuts”. It’s the dark older sister, one with a failed relationship and scars that run too deep. It’s the perfect balance of beauty and edge.
6 – Sweet Nothing
A collaboration with Swift’s long term partner, Joe Alwyn, this stripped back lens into Swift’s personal life is the perfect track to cosy up to. It feels like an intimate conversation between her and Alwyn – a relationship that has been notoriously private. The bridge is very musical theatre which might not be for everyone, but it adds an edge to this track that otherwise feels like a warm hug. Sing me to sleep with “Sweet Nothing” and I’ll love you forever.
5 – Midnight Rain
The vocal transition from “midnight” to “rain” scratches my brain and I love it. An homage to Lorde’s Melodrama, this track introduces a new musical era for Swift with Midnights. “He wanted a bride, I was making my own name”, Swift sings. A masterpiece.
4 – Anti-Hero
Self-proclaimed to be her most revealing track yet, “Anti-Hero” bares all. “I’m the problem, it’s me! Hi!”, she writes – my hangxiety has never been more seen. Drenched in self-loathing, Swift shows yet again her talent for creating stadium hits with this combination of glitzy pop beats and hard-hitting, rhythmic masterpieces like, “Did you hear my covert narcissism I disguise as altruism, like some kind of congressman.”
3 – Vigilante Shit
“Vigilante Shit” shows the true power of Taylor Swift – the ability to transcend all genre labels and master every new era of her music. This is a far cry from Folklore, with FKA Twigs-esque synths and sucker-punching lines such as, “He was doing lines, and crossing all of mine”, and “Don’t get sad, get even.” This track liberates my most rebellious energy and deserves all the awards.
2 – You’re On Your Own, Kid
I’m a sucker for Taylor Swift storytelling, and this track takes you on a journey. It’s paced like a late night drive in the rain. The guttural bass of the second verse is superb and very much needed on the rest of the album. From tearjerkers such as, “You’re on your own kid, always have been” to very revealing lines such as, “I hosted parties and starved my body like I’d be saved by a perfect kiss” – this track feels like a commentary on the love stories of her earlier work. Is this what they mean by healing your inner child?
1 – Mastermind
This is Swift and producer Antonoff at their best. With every album, Swift shifts the trajectory of her career, but with this track she shifts the trajectory of the music industry. This is a song! The bass throughout this track is tantalisingly fresh and sparkles like we are being transported through a meteor shower. With a cheeky wink to her fanbase, Swift ties up every loose thread of her never-ending mysteries and musical treasure hunts, singing that, “All you did was smile, ‘cause I’m a mastermind.” Yes, yes you are.
