Lavender Haze—There is something so poetic about calling falling in love a “lavender haze.” Combined with the premise is the melismatic melody (especially on the words “much” and “melancholia”, as well as the glissando on “stay” in the chorus) that makes it a memorable and enticing favorite. The tone of the song is heart-warming while still introducing the raw edge that appears later in the album.
Maroon—The cadence and rhythm of this song stand out the most. It is peaceful, then suddenly quick and more intense. I especially enjoyed the metaphor of maroon, a deep red, which reflects the idea of seasoned love. Unlike other Swift songs with the same theme, however, this song adds a sinister twist with its double-meanings. Every symbol has not only a tender side (lyrics like “I see you every day now”), but a darker one too (the mentions of scarlet, like a wine stain or fresh blood, turning darker as it dries).
Anti-Hero—“Anti-Hero,” written as a self-deprecating, satirical diss-track that directly addresses Swift’s insecurities, is particularly catchy. The hit single exposes the paradox of fame, discussing her feelings of dehumanization in lines like, “Too big to hang out” and “Pierced through the heart but never killed.” Though the cause of fame is specific to her, the song’s highlighted insecurities bring an element of relatability about being our own “anti-heroes.” This is cleverly visualized in the music video, which offers an actualization of insecurity, depicting both a “normal” Taylor Swift and a crazed, untrustworthy one. It is honestly the video that better explains the song which, though creative and vulnerable, has at times off-putting lyrics, such as “Sometimes I feel like everybody is a sexy baby,” that don’t reflect Swift’s usual literary talent.
Snow on the Beach—Highly anticipated by fans, “Snow on the Beach” surely satisfied those nostalgic of Swift’s Folklore album (especially with a hint in the second verse that connects the song to “exile”, a fan-favorite), but it also hit a nerve among her and Lana Del Ray’s fanbase. Expecting a duet-like composition, many fans were left yearning for more, as Lana Del Ray’s voice is lost in the vocals. Nonetheless, “Snow on the Beach” evokes a beautiful image of a miraculous occurrence while also hinting at the metaphor of what Taylor Swift calls the “cataclysmic, faded moment” when two people fall in love with each other simultaneously. This ethereal feeling permeates the song, supplementing the whimsical and elevated tone. While Lana Del Ray fans justifiably resent her lack of a solo verse in the song, it still feels extraordinary that we got even a glimpse of the two breathtaking artists collaborating.
You’re On Your Own, Kid—Likely the most relatable song on the album (especially for young adults), “You’re On Your Own, Kid” brings the first-person teenager perspective back from Folklore’s “Betty”—with a more real, raw, and heartbreaking interpretation. The song discusses someone who yearns for love, but realizes they are on their own, and Swift’s implication blares through: in any aspect of life, whether it is love, education, or profession, one’s success depends on no one but oneself. The song has an airy quality that juxtaposes the weight of the message, emphasizing its simple reality. Swift addresses personal power, societal apathy, and the mantle of maturity here: all fear-laced emotions that have kept us up at midnight on some day or another.
Midnight Rain—While most of Swift’s beloved classics tell her experiences with heartbreak, in “Midnight Rain,” she’s the one ending things. The song’s lyrics take listeners through a tour of Swift’s personal history, describing a “wasteland” hometown full of “pageant queens and big pretenders” and later singing about the “life I gave away.” Suggesting the duality in leaving her hometown—and love interest—to pursue her career proves effective in bringing the characteristic story-like feel to Swift’s music. The most striking aspect of “Midnight Rain” is the presence of a particularly low voice in the chorus which Swift later revealed were her own edited vocals. The song attempts a more techno feel, but is distracting and seems inauthentic as the rawness of Taylor’s voice gets lost in the autotune. Nonetheless, it’s a weirdly catchy bop and a great reverse-heartbreak song, featuring the lyrics “I broke his heart cause he was nice.”
Question…?— Perhaps because of the length of the chorus, this song sounds a little repetitive. Although an obvious reference to a moment of her past, the chorus feels less like a recurring thought at midnight (as it may have been intended) and more like a premise for the verses. Lines like “I remember” reference Swift’s earlier song “Out of the Woods” from 1989, which repeats the line and mirrors similar melodies and rhythms. Fans have speculated that the connection between the two songs involves Swift’s former flame, Harry Styles. Still, the melody is captivating, classically Taylor Swift in the best way, and the lyrics, though repeated, are expressive and well-crafted.
Vigilante Sh*t— “Vigilante Sh*t” deviates from the overall sound of Midnights. This song attempts a more eclectic, bold approach and doesn’t leave much to euphemisms and metaphors, creating a void for those who enjoy Swift’s usual cryptic messages and subtle hints rather than blatant exposés. This song abandons recurring themes of love in favor of revenge, delivering an aggression reminiscent of Reputation. Amidst the attempts of edginess, this song loses the sound characteristic of her Folklore era that appears in the other tracks on Midnights, such as “Snow on the Beach,” “Sweet Nothing” and “Mastermind.” Nonetheless, it can serve as a good outlet for anyone seeking a song truly about revenge and can surely serve as a “get-in-the-zone” song.
Bejeweled—This trite Cinderella interpretation serves as another reminder that—unfortunately—a classic can be infinitely remastered but not always well. “Bejeweled” has little in common with the fairytale’s plot, resulting in a far-fetched video that doesn’t capture the same depth of “Anti-Hero,” even with all its glamor. Unlike “Anti-Hero,” the sound and video fail to capture Swift’s singularity as an artist. Contrasting the other self-loathing, emotional tracks of the album, “Bejeweled” tells a shallow, “sparkly” story about popularity and self-confidence, coming off as inauthentic like “Midnight Rain.” Instead, the Cinderella cliché and shallow visuals make it seem like Swift has conformed rather than embraced her uniqueness. Nonetheless, the Easter eggs in the video hinting at her past hits have made ride-or-die “Swifties” go wild with nostalgia. The lyrics themselves capture Swift’s literary prowess, though their rushed pace offers a more conventional sound than her typical soft, country-esque style.
Labyrinth—“Labyrinth” is subtle, warm, and soft, epitomizing Swift’s recent sounds (think “Evermore”). It tells the story of unexpectedly “bouncing back” after a breakup and watching yourself fall in love again, right when you feel like your plane is “going down.” This song, though audibly pleasing, doesn’t have any particularly fantastic or breathtaking moments. The chorus’ simplicity and repetition dilutes Taylor’s lyrical abilities, but nonetheless, “Labyrinth”’s airy sound evokes the very nostalgic feeling of being senseless in love that permeates the album. It also features the same deep voice present in “Midnight Rain,” which helps add originality to the otherwise standard song.
Karma—Like “Bejeweled,” “Karma” is a bold, spunky bop that focuses on the idea that the universe gives you exactly what you pay for—literally. The lyric “my pennies made your crown” implies that someone took advantage of Swift’s money. But don’t worry, she’ll surely get rewarded by watching them get what they deserve. This song expresses Swift’s adoration for karma: a phenomenon she describes as “[her] boyfriend” and “sweet like honey.” While not exactly one of her memorable hits, “Karma” lightens up the album and gives listeners a taste of some of Swift’s more recent, upbeat sounds. It plays on a different side of regret, countering the cold-hard-revenge theme of “Vigilante Sh*t.” Rather than expressing the beauty of revenge, “Karma” discusses the beauty in letting the universe do all the work.
Sweet Nothing—Whereas “Question…?” doesn’t quite accomplish the tone of recurring midnight thought, this song does. Though (just like “Question…?”) the chorus makes up much of the song, it only creates a softness that the lyrics, melody, and cadence supplement. It is one of the most unassuming songs on the album, absent of the double-edge that the other love songs, “Lavender Haze,” “Maroon,” and “You’re on Your Own, Kid” all have. The lines, “Industry disruptors and soul deconstructors / And smooth-talking hucksters out glad-handing each other” in the bridge are my favorite for the delicate rhyme.
Mastermind— “Mastermind” is soft and subtle and darkly yearning. It is vast in an earnest way. Of all the songs on the album, this one feels the most like the divulgence of a guilty habit born from insecurity. The lyricism often attributed to Swift shines here, with lines like “I laid the groundwork, and then / Just like clockwork / The dominoes cascaded in a line” and “I'm only cryptic and Machiavellian / 'Cause I care” (my favorite because it is sung with a lilt and sincerity at odds with the message). “Mastermind” has the Taylor Swift bridge, which balances the album’s recurring retribution theme with a careful beauty. It is one of the songs that effectively and powerfully offers the thoughts that keep me up at night tone that Swift uses to define the album.
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