DES MOINES, Iowa —
Taylor Swift's tenth studio album, "Midnights," received critical acclaim last week, becoming Spotify's most-streamed album in a single day.
If you haven't listened to the album yet, or you just want a second (or third or fourth) set of opinions, fear not: Anna, Emma and Lydia from the Local 5 Digital Team have you covered.
As members of Gen Z, all three of us have grown up with Swift in one way or another. "Midnights" comes to us at a time when we've just started our careers after graduating college this past May. We're still figuring out who we are and what our paths look like moving forward.
Swift, despite being 32 years old and a critically-acclaimed musician, seems to be having a similar crisis. As she returns to the pop genre following the success of 2020's "Folklore" and "Evermore," she experiments with her sound and plays with her public perception.
Based on our reviews, "Midnights" is far from a perfect record. Still, it manages to encapsulate how Swift views herself and her legacy in a new way while incorporating the lyricism and pop prowess she's renowned for.
NOTE: The songs below are from the extended "Midnights (3am Edition)" album
Lavender Haze
Emma: This may be Swift’s strongest opening track ever. It perfectly sets the tone for the rest of the album with its dark, sultry pop production and lets listeners know we’re entering familiar territory: grappling with the consequences of fame. 9/10
Lydia: On first listen it took me by surprise, the production style was a sharp turn from "Folklore" and "Evermore", setting the tone for the rest of the album and ushering into a new era. Lyrically, I think it leaves something to be desired. It's a "bop" though, for sure. 7/10
Maroon
Emma: This song grapples with the legacy of a past relationship; she uses her lyrical abilities to tell the story of how they came together and subsequently fell apart. For longtime fans like myself, the song serves as a dark parallel to “Cornelia Street” from Swift’s 2019 album, “Lover”. 9/10
Lydia: This may be one of my favorites off the album, it brings me back to the Swift storytelling that I grew up loving. It feels familiar and not in an "I've heard this before" way like others on the album but like a worn-in comfort. Swift dives into the darkness of a relationship, crafting beautiful imagery as she looks back on the light and dark aspects of a past relationship. 9/10
Anti-Hero
Anna: After the masterclass of narrative storytelling that was “Folklore” and “Evermore,” “Midnights” seems to lurch Swift back into her usual autobiographical lyricism. And “Anti-Hero” — the album’s lead single — does just that with an upbeat tune and lyrics that hurt (“It’s me, hi / I’m the problem, it’s me”) just as much as they puzzle (“Sometimes I feel like everybody is a sexy baby”). But that’s the beauty of the song — it’s catchy and self-loathing enough to make sense to everyone, whether you’d like to admit it or not. 8/10
Emma: While this song sounds upbeat, the lyrics are remarkably dark (See: “One day I’ll watch as you’re leaving, and life will lose all its meaning for the last time.”) The purpose of the song is twofold, allowing Swift to underscore her own self-loathing while winking at those who criticize her. If there’s one thing Swift does well, it’s reframing the narrative of her own fame. 8/10
Snow On The Beach
Anna: With an intro that’s reminiscent of something you might expect to hear in the “Great British Bake Off” tent, Swift’s lilting tone and lack of Lana Del Rey vocals seal the deal for this song. Del Rey chimes in intermittently as listeners are led to an incredibly literal simile comparing being loved to seeing snow on a beach — “Weird but ******* beautiful.” For an album so chock-full of Jack Antonoff’s annoyingly catchy production style, this song could fall off the track list and no one would be around to hear it hit the ground. 5/10
Emma: This album has been under a lot of lyrical scrutiny, but most people are missing the real culprit: “Weird but ******* beautiful” is one of the laziest lyrics in Swift’s whole discography. In addition, Lana Del Ray is incredibly underutilized. The song is ethereal, but lacks substance overall, causing it to fall flat. 3/10
You're On Your Own, Kid
Emma: This song delivers as one of Swift's emotional Track 5s, referencing the hardships she’s faced throughout her life and career. The bridge is among Swift’s best, a mounting crescendo showcasing her skills as a lyricist. While the song is softer than others on the record, it doesn’t feel out of place among the heavy synth beats. 8/10
Lydia: Swift's discography has been the soundtrack for many Gen Z's growing up, and this song proves why. Swift's ability to capture that seemingly inexplicable emotion of growing up, dreaming of more than your hometown, leaving your parents, and learning to trust yourself. This song plays to her strengths as a songwriter while she showcases her evolution as a person. 9/10
Midnight Rain
Emma: This song was a jump scare on first listen, with the heavy production reminding me more of 2014 than present day. While the comparison of “sunshine” to “midnight rain” feels cliché, Swift’s storytelling abilities save this song from being a complete skip. 5/10
Lydia: This is a skip for me. The production style feels outdated and I can't help but notice the unknown voice in the back gets more of a feature than Lana Del Rey, what is with that? It's relatable and catchy sure, but I've heard it before from both Swift and other artists. I can think of other Swift songs that convey this message in a more lyrical way. 3/10
Question...?
Anna: If the thrumming, nearly mechanical melody, sharp percussion and interrogative lyric delivery aren’t enough to make you pause, the narrative of “Question…?” will. Swift leads into each chorus with a simple enough ask — “Can I ask you a question?” before diving into the wrongdoings of a past lover, or perhaps a friend’s incorrigible ex. While most of “Midnights” feels like “1989” with a murkier rebrand, “Question…?” is a poppy reminder that calls back to what she might be known best for, lyrically — Swift may forgive, but she doesn’t forget. And man does singing along feel good. 10/10
Emma: Listening to this song feels like you're having a personal conversation with Swift. She showcases the fluidity of her lyrics with ease, moving the song along in a way that makes you want to hit replay. The premise of the song itself (“Can I ask you a question?”) made me feel like I was part of an inside joke. 9/10
Vigilante Shit
Anna: Despite her reputation as millennial extraordinaire and cat mom, generally Swift can skate by with minimal wounds from the younger generation. Her lyrical prowess, songwriting ability and likeable dorkiness is enough to drown out most criticisms — but the cringey lyric “Draw the cat eye / Sharp enough to kill a man” might just put her in the doghouse for me. The song itself is easy enough to listen to, especially if you were a fan of her edgy “Reputation” era, as it harkens back to the idea of getting revenge, getting even and getting hotter than you were before. The problem is, you never stop waiting for that big drop, that swelling music shift — “Vigilante Shit” is subdued and minimal ’til the very end. 3/10
Emma: Listen ... is the first lyric cringe-inducing? Yes. Will I defend this song to the death? Yes. The production is reminiscent of Swift’s 2017 album, “Reputation”, one of my holy grail Swift projects. Swift's role as the femme fatale in this song is both intriguing and deliciously camp. 8/10
Bejeweled
Emma: True to the title of the song, this tune seems to sparkle, with cheeky lyrics like “And when I meet the band, they ask ‘Do you have a man?’ I can still say I don’t remember.” More than anything, this song makes me want to dance with all my best friends. 7/10
Lydia: It's fun, it's cute, and I jammed to it on the way to work. One thing about Ms. Swift is that she will write a cheesy tune that you can't get out of your head. You will dance with your friends to this song as you get ready to go out. And if that's wrong I don't want to be right. Like the lyrics are cheesy, yes and it somehow describes every past situation-ship you've had, of course! It's Swift in her pop era, what do you expect? 6/10
Labryinth
Anna: One of the most lyrically simple songs on the album, “Labryinth” is a prime example of Antonoff’s influence on her sound. While the lyrics read Swift as ever — “It only feels this raw right now / Lost in the labyrinth of my mind” — the music is something reminiscent of Antonoff’s other projects (think: “Melodrama” by Lorde). The pairing of her delicate lyrics, breathy vocals and the cool, almost metallic music is an acquired taste — but I think it hits all the right notes. 8/10
Emma: This is exactly what I expected the entire “Midnights” album to sound like: slow, shimmery, with underlying pop elements. Where “Snow on the Beach” didn’t deliver for me lyrically, “Labyrinth” makes up for it at least a little. It provides an interesting look into Swift’s psyche and her perspective on finding love after heartbreak. 8/10
Karma
Emma: Two words: pop perfection. Swift foregoes the theme of revenge for one of acceptance; she knows those who have done her wrong will get what’s coming to them in the end. Swift strikes a carefree tone, making this the perfect song for dancing or listening in your car with the windows down. In not taking herself too seriously, Swift has created one of her best pop songs to date. 10/10
Lydia: I mean it's pop perfection, right? Right. It's just fun, light, and carefree with the typical Swift attitude. She's protecting her peace and so am I! One thing about me, I love a silly little pop hit and this is it. 10/10
Sweet Nothing
- Anna: “Sweet Nothing” is an ode to Swift’s discovery of comfortable, familiar love that shields her from the outside world and expects nothing back. That safe haven is reflected in the gentle, hypnotic structure of the music — it’s reminiscent of a lullaby or children’s rhyme (or even Swift’s “It’s Nice to Have a Friend”). In an album of emotional turmoil and self-introspection, “Sweet Nothing” is a breath of fresh air that gives the listener a place to find refuge in a tough album, just like Swift: “I find myself running home to your / Sweet nothings.” 9/10
- Lydia: Venturing from the synthy, pop production of the songs prior, "Sweet Nothing" brings a moment of softness that is needed at this point in the album. Her vocals are right in her sweet spot, hovering in a range of soft, and low as she sings. Swift seems to find peace in her relationship and both the lyrics and production reflect this. In the midst of a busy album, we find peace in "Sweet Nothing". 9/10
Mastermind
- Anna: By poking fun at the public that deemed her calculating and, funnily enough, herself for pointing to fate when it comes to finding love, Swift harnesses the pop power and lyrical wit that she’s known for in “Mastermind.” The story is a direct contrast to one of her best songs, “Invisible String,” where she muses on the thought of destiny bringing her and current boyfriend Joe Alwyn together — “Mastermind” flips it, instead telling the listener: “And now you’re mine / It was all by design / I’m a mastermind.” It’s a catchy song with an interesting, fresh message and an incredibly self-aware sample of Lorde’s “Supercut” by Antonoff. 9/10
- Lydia: As much as it broke my heart to know that "Invisible String" was a lie, she makes up for it with beautiful lyrics and fun storytelling. The slow start of the song, setting up what seems to be a fateful interaction swiftly changes with "Checkmate I couldn't lose", the beat picks up as Swift reveals all. It's unexpected and cheeky. 8/10
The Great War
Anna: Synth, synth, synth — “The Great War” is filled with bloody imagery and drums that could be straight from the front lines of 20th-century Europe. While it may seem off-putting at first, the World War I metaphor and the upbeat pop production work surprisingly well together. Unlike previous albums, “Midnights” is critically lacking the Swift bridges that make you want to scream in your car — but “The Great War” gets us nearly there, which earns it a few points in my book. 7/10
Emma: Truth be told, this was at the bottom of my album ranking upon first listen. Once I really took a moment to analyze the lyrics, though, I was sold. Taylor’s lyricism on this track is even better than it is on some of the original 13 songs. The instrumentals in the background remind me of marching into battle, and the bridge is one of the best on the record. 8/10
Bigger Than The Whole sky
Anna: Swift has a history of writing with loss — or the potential of loss — in a way that feels real, raw and empathetic, like the weight and warmth of a friend’s head on your shoulder. The album’s best ballad, “Bigger Than The Whole Sky” tackles the idea of losing someone before you ever had the chance to know them. The piano melody adds a tender flourish to an otherwise simple song. It’s what Swift does best — listen to “Marjorie” for a similar, ethereal trek into love and loss. 10/10
Emma: This was the first song on "Midnights" to make me cry. It’s the most emotionally charged song on the album, with heart-wrenching lyrics and ethereal strings. Still, I understand why it wasn’t among the original tracks: It would fit more neatly on “Folklore” or “Evermore” than it does here. 10/10
Paris
- Anna: Simply put, there are more “Midnights” tracks that touch on similar nuances and boast better instrumentals. It could be catchy, but the main point of interest in “Paris” is Swift’s reference to Alwyn’s lack of money: “Stumble down pretend alleyways / Cheap wine, make-believe it’s champagne.” (I’m joking, but see “Paper Rings” for more information). While not super memorable, the upbeat “Paris” is fun, free-wheeling and definitely worth at least one listen. 6/10
- Lydia: It's been done before and better, by Swift. It offered nothing new, it could be a blend of songs from "Lover", and I would believe you. The over-pop production and breathy high vocals distract from the potential of good lyrics but even then it's just full of cliches of Paris and love. 4/10
High Infidelity
- Anna: Musically, “High Infidelity” reaches the highs of a typical Swift hit — snappy songwriting, plenty of interesting intonation and a beat catchy enough to keep you listening, even if you’re not invested in the meaning of the lyrics. Lyrically, Swift hints at her leaving a lover for another man, even giving a specific day — “Do you really want to know where I was April 29th?” — which adds a lot of intrigue to an already playable pop song. 10/10
- Lydia: With strong lyrics, a new story, and an intriguing beat, I wish this was on the main tracklist. Prior, to the release of "Midnights", fans were anticipating a dark, glittery album and this song feels like that. Grappling with making mistakes, hurting others, hurting yourself, and dealing with the pain. The darkness is covered with a moving beat, underscored with somber strings, Swift hits the target with this one. 8/10
Glitch
- Anna: Now, this is what I was expecting all of “Midnights” to encapsulate: Grainy, textured backtrack and an indie twang run throughout the song, mimicking the grungy teasers Swift dropped leading up to the album release. “Glitch” is something entirely unique on an otherwise incredibly cohesive album — and she’s better for it. Surprisingly enough, Antonoff still had a hand in production and writing for “Glitch,” but it seems the usual vision was swapped for something a little more in-tune with Swift’s country roots and long-known flare for the dramatic. 9/10
- Lydia: It's a more sultry, seductive, version of "Cruel Summer", a flirtation that turned into the real thing. "Glitch" sounds like a Swift song I have yet to hear, which is exciting, surprising and enjoyable. The production style matches the lyrics and the tone of Swift's voice in a way that doesn't feel overdone or overpowering but just right. 9/10
Would've, Could've, Should've
Emma: Swift pulls out some of her signature country twang on this song, and it pays off. Terrifically honest and sometimes cutting, Swift looks back on her relationship with a man she dated when she was only 19 and he was 32. The lyric, “Give me back my girlhood / It was mine first” gives me full-body chills. Watch your back, John Mayer. 10/10
Lydia: A lot of my critiques have been about hearing it before, which is natural since Swift's discography features an autobiographical structure but "Would've, Could've, Should've" shows the ability to continue that theme in a fresh way. Swift comes full circle from the teenager singing "Dear John" to the 32-year-old who is able to recognize and vocalize the power dynamics of being a teenager in a relationship with a grown man. It's haunting, damning and perfectly vulnerable. I agree with Emma, John Mayer should watch out. 10/10
Dear Reader
- Anna: Most “Midnights” tracks deal with something personal, private and painful — “Dear Reader” is just the first one to outright come across as advice. By pulling the reader (or listener) into the narrative, the repetitive production style of the song can nearly be forgiven. And though it’s not explicitly poised as a follow-up to the 2010 hit, “Dear John,” the epistolary reflection of “Dear Reader” comes from 32-year-old Swift — the same age John Mayer was when they dated in 2009. 8/10
- Lydia: Swift gives us a glimpse into her most intimate thoughts and she gives her listeners a piece of advice. Growing up with Swift, she fully steps into her big sister role, hoping her listeners learn from her mistakes, her missteps, and the times she's been taken advantage of. The direct language of "Dear Reader" invites us in, breaking the fourth wall as she engages before closing out the album. 7/10