My friend Molly told me that she loves this song because of the usage of the Wurlitzer piano that gives Sweet Nothing its warmth, its retro style that suits all the Midnights visuals to a tee. There’s such a satisfying pattern to its chorus melody that makes it feel like one of the album’s most instant earworms. The Great War has chorus similarities with Colder by Nina Nesbitt, although assuming either of them have listened to that song may indeed be more than a little bit of a stretch. The best way to kick off the top 10 ranked songs on Midnights is with the best Taylor Swift and Aaron Dessner song on this record. The Reputation era is alive and well – the old Taylor can come to the phone after all, it seems. Taylor took a deep dive, bathe and swim in the Billie Eilish lake when she made this Sc**ter Br**n annihilation and we thank her for it.
Yes, the title is a bit cringe – but if you aren’t on board with some Taylor Swift cringe then you aren’t a Swiftie after all. Also, the melody makes me want to burst into Illicit Affair’s “Don’t call me kid, don’t call me baby” literally every time I listen. If you think of it as a Lana song, you can’t mistake her vocals and presence all over it. If you listen to it and think about it as a Taylor Swift song, you only hear her. It ain’t quite that, but what it is is a quietly lovely song that my friend aptly declared an illusion. I thought this song would be at the top of this ranked Midnights list and be one of my fave Taylor Swift songs ever. It’s taken me some time to accept the fact that the hype I had for two of my favourite artists of all time coming together for a song isn’t quite the equally split duet I was hoping for. The motif of the background vocals and lyrics just feels so correct and the production and heartbreak on display are wow from start to finish. I’d describe this song as the lovechild of Getaway Car and Daylight. There’s a lot of amazing vocal editing on Taylor across Midnights, and Midnight Rain kicks off with some of the best. I can’t wait to spend the rest of my life crying to this when a guy ghosts me, or when I just feel particularly sentimental and main character on a two hour train to Manchester. This is one of the dreamiest and most cinematic tracks on Midnights by far, it feels like the culmination of a romance at the most pivotal moment of the best film you’ve ever seen. I cannot help but be lulled into the grandiose, The Archer-tinged electroballadry of songs like Bigger Than The Whole Sky. Some of the best production on the whole record, the whirring of the guitar feels so wonderfully woozy and doesn’t recall anything she’s ever done before. On listening to this again back to back with High Infidelity, I already know these songs are going to shoot up the ranking because I’m loving them more with every spin.
I feel like a lot of the extra seven tracks have fell to the bottom of Midnights ranked, but I genuinely love them a lot – such is the power of Taylor Swift that the best is yet to come. Which Taylor’s backing vocals still feature on. Also, LOVE the title and love when Taylor writes with specificity like the lyric “Do you really want to know where I was April 29th?” – the day This Is What You Came For came out. I love the way Taylor chooses to write on this song, the short phrases and the word couplings are so satisfying when paired with the twinkly Aaron Dessner production works so well for me. I really wish that she kept Mastermind as the album closer on both versions – it works much better for me. Antonoff’s production is astounding, of course. The 20th and final track on Midnights, Dear Reader is a dreamy song that has echoes of the underrated Dress from Reputation but without a lyric as good as “Only bought this dress so you could take it off”. W,C,S reminds me of Long Story Short from Evermore, but not QUITE as good. It’s one of several bonus tracks on Midnights’ 3AM edition that sees Taylor reunite with Aaron Dessner – who she walked with deep into the Folklorean woods and dropped two of the best records of her career. Would’ve, Could’ve, Should’veĬoming in 19th is funnily enough track 19, Would’ve, Could’ve Should’ve. Which I do like Taylor doing, but I need the rest of the song to slap as hard as the curse words. It’s nothing personal, I just don’t think it goes anywhere memorable beyond its swearing. A song has to come last, and right now that song is Question. No ME!s and no You Need To Calm Downs, no Stay Stay Stays or horrid Ed Sheeran feature lurking in this tracklist. Knock you over, and knock you all around.Now is a good a time as any to say that beyond a few cringe lyrics, I don’t think there’s a bonafide misfire anywhere to be found on Midnights. I'm gonna make love to Amanda in about ten years!Īnd that toothpick is gonna turn into an oak tree
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